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A Flute Doumetschzzxx
A Flute Doumetschzzxx
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MUSIC
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MT 75.D66 i915
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mui rnui
The original of this book is in
http://www.archive.org/details/cu31924021793314
THE INTERPRETATION OF THE MUSIC
OF THE
AN APPENDIX
consisting of
THE INTERPRETATION
OF THE MUSIC
OF THE
ARNOLD DOLMETSCH.
when what is now called " Old Music " was merely
old-fashioned. From that time to the revival
which is now in progress, the attention of musicians
was so completely withdrawn from this " Old
Music " that no tradition of it survived. The
tradition now claimed by some players only goes
back to the early pioneers of the present revival,
who knew much less about it than we do now.
Reliable information is to be found only in those
books of instruction which the old musicians wrote
about their own art. Happily there are many
such, well filled with precepts, examples, and
philosophical considerations.
In order to get a comprehensive view of the
subject, we must analyse and compare all available
documents. No single author gives full light on
every point, even concerning his own works. The
thing we most want to know is frequently exactly
what has been left out or passed over lightly. The
author, perhaps, considered it too simple or too
well known to require any explanation. In such
cases we must look elsewhere for the desired
INTRODUCTION vii
in accompaniments.
These various problems will be considered here,
in turn. But the student should first try and
prepare his mind by thoroughly understanding
what the Old Masters felt about their own music,
what impressions they wished to convey, and,
generally, what was the Spirit of their Art, for
on these points the ideas of modern musicians are
by no means clear.
A number of quotations from old books whose
authority is not open to question are gathered
together in the first chapter. They are most
interesting and helpful, and will show how erroneous
is the idea, still entertained by some, that expression
is a modern thing, and that the old music requires
nothing beyond mechanical precision.
;
viii INTRODUCTION
It is advisable, however, before beginning this
study, to clear our mind of prejudice and precon-
ceived ideas, and put aside intolerant modernity
or else we may, as others have done, corrupt and
twist about the meaning of even the clearest
statement. We should take warning from the
1 8th century connoisseurs, who declared Gothic
architecture barbarous, or the early 19th century
art critics, who could see no beauty in
pre-Raphaelite art.
IX
TABLE OF CONTENTS.
TAGE
Introduction v
CHAPTER I.
Expression z
CHAPTER II.
Tempo ... ... ... ... ... ... ... 27
Section 1 28
,, II. —The Tempo of Dance Movements 44
CHAPTER III.
Conventional Alterations of Rhythm :
CHAPTER VI.
Position and Fingering... 364
CHAPTER VII.
The Musical Instruments of the Period
Section I. — The Virginals 419
II. — The Clavichord 433
III.— The Organ ... 436
IV.— The Lute 437
V.—The Viols 444
—
VI. The Viola d'amore 452
VII.— The Violins ... 453
—
VIII. The Wood-Wind Instruments 456
—
IX. The Brass Instruments 460
X. — Combinations of Instruments 462
CHAPTER I.
EXPRESSION.
A book which from its title could hardly be
suspected of containing matter of interest for our
'
Proper Place).
" The
last of all, is the Pause; which although
itbe not a Grace, of any performance, nor likewise
numbered amongst the Graces, by others, yet the
performance of It, (in proper Places) adds much
Grace and the thing to be done, is but only to
:
Work."
Isnot this strikingly true, as well as regards
modern as old music, and ought not every teacher
to steep himself in it and impart it to his pupils ?
— ;
I say."
French books on Music are very rich in material
for our study.
EXPRESSION 15
" He who
accompanies must have no affectation
in playing, for nothing is more opposed to the
spirit ofaccompaniment or concerted playing than
to hear a person who is only anxious to show off;
this manner is only good when one plays
alone. . . .
Page 102 :
" Expression in Music may be
compared to that of an Orator. The Orator and
the Musician have both the same intention, in the
composition as well as the rendering. They want
to touch the heart, to excite or appease the
movements of the soul, and to carry the auditor
from one passion to another. . . .
CHAPTER II.
TEMPO.
The proper tempo of a piece of music can
usually be discovered by an intelligent musician,
if he is in sympathy with its style, and possesses
SECTION I.
" Where note, that the Large and Long are now
of little use, being too long for any Voice or
Instrument (the Organ excepted) to hold out to
their full length. But their Rests are still in
frequent use, especially in grave Musick, and
Songs of many Parts.
" You will say, If those Notes you named be too
long for the Voice to hold out, to what purpose were
they used formerly ? To which I answer they :
pulse.
" InAlia breve time :
"
§ 52. What I have explained above applies
most exactly and most often to Instrumental
music. As to vocal music, especially Airs in the
Italian style, it is true that almost every one
demands its particular movement.
" But these divers movements are nearly all
derived from the four principal types I have
described. One should consider the sense of the
words, the movement of the notes, especially the
quickest, and in quick airs the ability and
the voice of the singer. A singer who uses the
chest voice for runs is hardly able to execute them
as quickly as one who uses his head-voice, although
the former will always be the more valuable of the
TEMPO 43
two, especially in a large space. With a little
experience and the knowledge that Vocal music
does not as a rule require so fast a tempo as music
for instruments, one should find out the right one
without particular difficulties.
" It is the same with Church music as
§ 53.
with the Airs except that the expression as well
;
SECTION II.
Since these lines were written, many old dances have been revived
by Mrs. Arnold Dolmetsch, and important discoveries made. An
account of the results will be published later.
53
CHAPTER III.
CONVENTIONAL ALTERATIONS OF
RHYTHM.
Section I.
|
a
" Ex. (a) The small note which follows the dot
:
m
(a)
=B=ff
(»)
^
w
—
58 i
7 th AND i8th CENTURY MUSIC
You must, then, before playing them, wait until
the very end of the time which belongs to them,
thus avoiding faulty time :
£ffe
iis^=mz E3=
**r
"If slow Allabrcve, or ordinary Common
in a
time, there is a semiquaver rest on the accented
*£=¥-
SEe^ISe! Baf E =
§X :££i)
£=.»=JF=='
SpESSsaaES^gEggg
=s==P=g=P
• -0-
ALTERATIONS OF RHYTHM 61
m s
s^y
^^
(«) (*)
$ £g±gg ^m
"
One must not hurry the first note, particularly
in slow movements, so that the melody may not be
corrupted in a careless way, or lose its roundness,
when the first sound is played so short and the dot
moreover transformed into a rest as at (b).
" Note Formerly, one gave the first note of such
:
Grave.
-m-*-
^F^zz^zjp^^gfj; ~See$e^
=S=I"=
f =F
gi^i E«S
-*V*-4-
ESESEE
5
igt *l
P^^Efe Si eES
-3
3r =t
fc SB fcb A
=a±*
I r~r *?= e!e*
64
$
17TH
fcfes
AND
»-
-I =±
—
pro
i8th
mm
--
CENTURY MUSIC
5fe 35
&t 1 5E^
i 8*-
m Jr
&±
is etc.
-=f
S^S
The works of Handel abound with similar
passages. See, for example, in the " Messiah,"
" Comfort ye, My
people," " Ev'ry valley,"
"Thus saith the Lord of Hosts," "Behold the
Lamb of God," " The Trumpet shall sound,"
&c, &c. In Bach's "St. Matthew" Passion:
"Ach nun ist mein Jesus hin?" the bass part of
;
siptip^ipii
ALTERATIONS OF RHYTHM 65
m :&*****-£.
m 1*3
tfrhr^fiE
See also in the chapter on Ornaments the
example at page in.
SECTION II.
66 i
7 th AND i8th CENTURY MUSIC
binary measures :
% or C doing duty for ^
| for |, and \ for J J* is§. The figure J Js
either written J j J J, in which case the dot is
. .
^M
w 1— r-
Allegro.
Se
should be written thus :-
W*£
m
and later
£E=szte
i
S ^=£= ttmz
WF¥ ^m
should be written thus :
m^ :ifc
-&i
and later
-0L ^Tj*.
-£=r±
^BE (2—I—
$&g=*^=3s*=t
izjs
*=t
rS3=]g!
W l "I •
and later :
WES.
E^ ^^=
should be written thus
P^ESI
?£==*
— ——
Fanfare. Couperin.
Fort gayement. *
fy
mit
e :tHcq= £g etc.
m^ f.
-*
5S -* -* -
r*
- -
Original :
3E
. .
* ft
|
3
mm ES .=^1 _^ =^_
rs^^^B P=*:xt
-fear-
i
g=fc#^=-fhl ^^ :
^ ££S S FiS
^^-7*- -$-
~-W=*-
ALTERATIONS OF RHYTHM 69
i
31 CE
:?
=F fa-H £fc
^^
it
l^^j-Ela^ESgg d
tr
± =*sfe 4;grt-Q^dE
?SE3
$
-*-T»-
F=F -•-#-
^
Instances of this kind of writing are very frequent
in Bach. Here are two examples :
fiE=
B £^5
*-.. -*-
^gE| ps^z
hould be played thus :
!?3E
p3 ifc=P:
^—£^ *
1 y
S^ES 4
» r
— — — "
7o i
7 th AND i8th CENTURY MUSIC
Concerto in D major, for Flute, Violin and Harpsichord. J. S. Bach.
Fl.
Allegro.
I—— ^3 3—
3_
M
iM I
i it=P=
S^ ife4£J5dg
-?-1-
should be
-rr=^--
$ played
Ad. Adam.
JTrrrgpl =t=t
W^
&=£
ALTERATIONS OF RHYTHM 71
SECTION III.
Written.
tl 1— t=C_|
(8) (3)
Played.
E3ffi &E>
H-i-K-t-
Written.
(5)
Played.
3==t
PP*
-^,^. £
S*
EP 1=
itti 3^^
should be played thus :
"3
" La Badine."
Legerement etflate. COUPERIN.
s ~
-I
£*
fet
i **t
=S»=
gpSP
-¥ ^w
mm
i^=g
=pt »=
1
fee
*»
» P5
etc.
W^ 1
ALTERATIONS OF RHYTHM 75
should be played :
a=
ifSS
=p=1=
53BE
etc.
iit- *=
" Example.
"12 th Variations on La Follia: —
mrJi=3z
*=
*=*
" The dots which are above the notes not slurred
indicate that you must make all the notes equal,
instead of dwelling on the first and shortening the
second, in the usual way. And when there are no
— —
I 3S t- zzem
£*
SEE £35— — t r-
B!E
-t
ALTERATIONS OF RHYTHM 77
M*m zfzdzf
=p=f= =f=p=i=p=
f
-n~r
I I
fcS
J^IK etc.
—
Couperin. "Second Book of Pieces," 1716.
IQ 4me Ordre, first movement : Rondeau, Bruit
de Guerre, " Vivement, et les Croches egales."
In English, " Quickly, and the quavers even."
—
Couperin. "Fourth Book of Pieces," 1730.
20 eme Ordre. Air dans le gout Polonais,
" Vivement, Les notes egales et marquees."
" Quickly. The notes even and accented."
The notes in this piece have dots over them.
In the same book: Les Satires, "Gravement,
ferme, et poind" which means " Gravely, :
ggffte^ggi
Thus (a) should come out approximately as given
at (b).
§ v.
M r
Balbastre.' " This Romance is given in the
.
in " But who may abide the day of His coming ? " ;
Sarabande. j. s. Bach.
m ^§
li^
2z
i -XtS:
-&---
I
kM -ct
-ct
-e-
m m * ^=t
-m
ze^gp
-Qr-r
J.J.-J j^^-^i
ate! -yj-
Transcription by A. D.
mfez -&1--&-
=fc
32t -*-&-
I
< 1 r
^TO -<-©— ig=
?3=
331
rcJ--
I OITj^ ^z ^rTj.^-gE^
PR^BT^-dr-*
t=
-J-
:z±: rez;
=g-
-rf
$m=^0^m
-£j-
MEM
ES
£eS
w^ m I
-4-4-
-+p
^
a
HF m *=*
I
:
f=f=r i i
m^ms^mm
i^
^&E f=f=
zcSz
fg g^#lSl 4=
-^ fef
fef^fe^i^F^
ALTERATIONS OF RHYTHM 87
v>
immrnmi
?
a r
f=
88
CHAPTER IV.
ORNAMENTATION.
In modern music the ornamentation is practically
all incorporated with the text. In the Old Music
the ornamentation is sometimes left out altogether,
or indicated more or less completely by means of
conventional signs. The composer in either case
had prepared his music for the ornaments if we ;
SECTION I.
The Appoggiatura.
Accent fallend.)
The appoggiatura is a very important ornament
affecting both the melody and harmony. It
originated with the lute-players, and was one of
their favourite graces. Here are Thomas Mace's
directions for its performance :
=£=}
EE
=fe
accented.
The Half-Fall is thus explained :
1^1
It is an appoggiatura from below, the auxiliary
note on the beat, and stronger than the true note,
for it is impossible to make a sound as strong, with
the finger of the left hand alone falling on the
ORNAMENTATION 95
ir W Rftpfc
i
— : — —:
i w. p^ fc;
w o • ^
There is no sign given for the appoggiatura it ;
Matthew Locke's
In " Melothesia," published in
!673, we find :
The Fore-fall —
The Back-fall
: . : ^ . No
indications are given for their performance.
In PurcelPs " Lessons," &c, 1696, the appoggia-
ture are indicated thus :
" A :
Fore-fall " gjJEE " explain'd :
"
=^§EE
" A Back-fall " : ^= " explain'd :
"
*
Port de voix.
i
•
Viola da
Gamba I.
Viola da
Gamba II.
Basso
Continuo.
#
^ 4
|S
^s
«£
??-*—*- i=zp_
^&
i-l—»—"^F $EExx=\
S£ ii^E^
6 6|_ # 7 4 #
^S =t=B
«{bar 4)
I i=f
i
1=
j ^
^f# n=
ORNAMENTATION IOI
tr
1=
P^ 33EB
§ +=&£:
Cheute ou port de
L ^
~ ,
En "»«a«»i".
,
descendant,
voix en raontant.
fe
This is the appoggiatura, upwards and downwards,
in all its perfection.
In Francois Couperin's " Pieces de Clavecin,"
LivreP1, (Paris, 1713), "Explication des Agremens,
et des Signes," we find this :
s ~2=¥^
$ 3E£E£ =t
Port de voix
simple.
m Port de voix
double.
m
im
*=t
=t
Effet.
£ 33E pM 5P5?F
Effet.
i BE
Port de voix
coulee.
! —
102 17TH AND i8th CENTURY MUSIC
Unfortunately, Couperin is not logical ; what he
calls " Port de voix simple " is a port de voix
combined with a pince or mordent, of which
latter this |>] is the sign ; and it is the pince
which is simple, not the appoggiatura. In the
" Port de voix double " it is the pince which is
double
On the other hand his " Port de voix coulee " is
a true, simple, upward appoggiatura it is " coule,"
;
Page 22 :
" The auxiliary note of a port de voix,
or of a coule, must strike with the Harmony,
that is to say, in the time that ought to be given to
the note which follows it."
And again, page 19 " It is the value of the
:
B Accent
steigend.
3=
Accent
fallend.
im^ ±=t
Bach it "Accent," a very good name for it,
calls
since does accent the music more effectively
it
eeSS
pjpfc C3?
^m
s ik
-P*-
Execution.
1. 2.
^&=+ ^e— *=
^^= ^fe
*
v3=-
The first appoggiatura follows Bach's only rule,
the second our Rule 1.
*jA*1
I 4^-T-
^ 4=**.
Execution.
J7
n
^
#.,._^.^-.
i
-»^ -j,-
I —
:fc
i Ob. I. Fl. I.
/-L*
/*"
Violins.
I 3=5
#*-
=3^
w s
p-
Execution.
I ^Z =t=r
fep3=^ 3^
t*
* hi
JUJ-
*== .-£
i
i ^ _#p=fc==^:f
=3= F =['
J^fi
*^lg
-
^=t
i ^—*—a 1—*
— —
h
-* «-U-j 1
i=4^= M
1 1
=*=*=4
Execution. |v .
__
j—4
^E&^£t? Me 5S=t
"E=r
1—
1=1=1= 1
=«=t z*=«b
ORNAMENTATION 107
a^
fat
£^i: ^i=*=Pffc: f It
ffite _—-
»— —^ — —» ^ —=»*
i
w
+Mm?t^
m
pai
*frA&
-P F-
^^
Execution.
=t
itesiis^i
litet 22 m?^
—
AND CENTURY MUSIC
proe
io8 17TH i8th
4ifefiE=H^ 1 1,
Hi*
^j^uM^A ^-_
§31 'ns>~-
>
pf^i f
kh=h
F-
H$teg
(The last bar of the above example will also serve
as illustration for Rule 5.)
Praeludium VII. :
Im
t=*: £b
z3B
it
f^f
-^T^H*
tfe^^£g^33^ESB
SpE 5^ Efc±
zfcafc
3=2
£
- • r r
@^
£fcSE
-*i— ^— fc=*i— i== ?
fi
:
3=3: =E*
t?
ORNAMENTATION 109
Execution.
-j :=S
t=*=
:3=± S:
fjjr^K s
r
--
^afez^dt
=^ E ^-1-H- £ ±z£=s=a=a:
^
i 3 ^
—
no i 7 th AND i8th CENTURY MUSIC
Rule 4. Matthew " Passion, Part II., Aria
" St.
for alto, " Erbarme dich," Violino solo part:
N.B.
iS^steEiSS^
rifc=E
-A- -|
mI-t a
1
-1
1E£
$ rr r-FP*i 1 r
Praeludium XIII:—
B
Execution.
gH§i^
(i)
Mil ^?
*=?±u
—•f-
5=*=r^lEH
sgi Segue.
ii2 17th AND i8th CENTURY MUSIC
Execution.
fgg^^^^^gf
^S5p M=m m^ tw4
(14) ] (15)
u.
u, Execution.
ORNAMENTATION 113
:*^±
$ E& '-&— I
ia ssi
^
ORNAMENTATION "5
Execution.
I s w$^m
**- «St
a-^— t*— : =g ^_ if
Hp3^
P
^ ¥
-^—m—
=3zgz
*
The next example is from Prseludium XVIII.,
vol. ii., of "
Das wohltemperirte Klavier."
The first appoggiatura in bar 2 would fall under
Rule 3. the principal note would thus come in the
time of the rest ; but the resulting harmony would be
impossible. The second appoggiatura in the same
bar is an ordinary one of half the value of the main
note; the nature of the passage makes it obvious that
both appoggiature should produce the same rhyth-
mical effect. The first must therefore be treated like
the second. A positive proof that this is right is
found at bars 44 and 45, where the harmony intended
by Bach could not have been clearly expressed by
appoggiature, and the passage appears written out
in full. The slurs, which are original, leave no
doubt as to the composer's intention :
«1 s ^fSS^S^i at
(l)
zgjzzzt
-*-»-
I
n6 17TH AND i8th CENTURY MUSIC
HV-£
(2) etc.
4t jl. .*-
w^=w=±m^-^4—tU-0-t
*4=E£ =t
.#. j^.
fe*
Execution.
F*=s=^ 5=5
!A
*%#= =j*±^|
i :x*;
ss * -»«* F-=
-*-»-
*A
liPg^E E*=SE
i etc.
.#. _^_ _|B. ^>- _^_ _«. _^_
rp=t=r*=(z
ls=£±dE
ti =£EB
(42) (43)
_«. _*_ .«_ _*_ _£_ _B_ _^_ .^
P^^E^Sfcyg
1 !
(44)
gjgte^^ -"*=t*
3CT=P:
t=P4
ORNAMENTATION 117
etc.
^^ Allegro.
-*z2j*
i*t^
(3)
+
I
SS
Tgyff-fl <i=*-
zl=t 1
ps (5)
3=
(6)
'JOL
etc.
v_j:
^gfa
#*!=
SLl"
—
n8 17TH AND i8th CENTURY MUSIC
Execution.
#B»if^H^ttj^t
1==^
f4=^
i-i U13r3Q^
gte#s^
pfe^pSg
sjg flr
Ptf:
^j.-
n-a
—fm !x* izi:
etc.
s=fe zi
$
Execution.
S£ ^ 1 1
^r^=n4%^4^
-&
-j\
pfm
^— r^»-
IN li
:
i =r=pr
—
122 17TH AND i8th CENTURY MUSIC
From J. Ph. Rameau's " Pieces de Clavecin avec
une Table pour les Agremens " (Paris, we
1731),
extract the following examples :
ORNAMENTATION 123
King George II. The Privilege was granted in
1739, but
the book is dated London, 1749.
It contains a table of Graces, from which the
following is an extract:
(To be
|\ played.) :S^
i
" Of the Inferior Apogiatura.
" The Inferior Apogiatura has the same qualities
with the preceding, except that it is much more
it can only be made when the Melody
confin'd, as
risesthe Interval of a second or third, observing
to make a Beat on the following Note :
ff tr /v
$ *fc
T
== :g£
ff r^S^^P^
These explanations are good, but incomplete.
It iswell to swell the sound of the appoggiatura,
but it obviously must be diminished again on the
principal note, or the effect would be absurd and
contrary to all that is known about it. It cannot
— —
§ 4. The
" tongue should gently mark the
appoggiature, swell them if the time allows, and
slur the following note a little more softly. This
kind of ornament is called '
Abzug (French
'
Ex.5. Ex. 6.
SE zEE£ £ £ =i=PC
£EE£
i EEEEE
-F-F-
Ex. 7 Ex. 8.
aa
$ EE ESE Igi
"
§ g. When in a six-four or six-eight, two notes
are tied together, and the first has a dot after
it, as happens in the Gigues, one must hold the
BE
It t-EF-i — *— -:US
R-m— 1 —
i ^gg m
§ 10. When there are shakes on notes which
"
form a discord to the bass, be they augmented
ORNAMENTATION 127
Ex. 14.
i
¥ tr
fesfeEfege m
" § 12. It is not sufficient to know how to play
the appoggiature according to their nature,
128 17TH AND i8th CENTURY MUSIC
when they are marked you must also know
;
iIhk#3 (/)
-si&z
w
f-tr js
(a)
ORNAMENTATION 129
m =
p=ip
N^_
^
5=*V-
(d)
£=E^£=
(«)
^
^^g /y
-•J**
i =p=
^|g^ & *--*-
w
^=3
SES
J*
fe
p>/r
r>
2fe
T
*_-t»-
f *
2/
*^- fe*-
i
r-i --^
FT !-
•
>-< J C- |
'
F^™
to) w
(13)
>£-.
pH ^p^
^Lfpn-g^^A ist
^,;--
Pv-_-P-4Q=
£E ii£3EE
(»)
eigrF^^
Hiw
to
Quantz gives a number of
5^ w
adorn the appoggiature in this example;
*y
ft
page 224 :
Vivement.
$ Le port
EE
de voix simple.
E£
ESt
i ^ ^E
-P=5=^
ORNAMENTATION 131
p & Lentement. !
1
SE ^L-*-
1=3" t=*
^E Q3E
^-T—
H ?cz^S:
*«r
F- 5 -*
i»qF^
I
fe £=:=£= ^*£
IS 1.
F-4— U=
1 "p i^^g
^
p^jg ^
i
<jr
=*r=F=
* =^£ ^
-^
^ fe
&?
i f-'TT
rn^rn
—
i 32 17TH AND i8th CENTURY MUSIC
C. Ph. E. Bach, in his " Versuch," &c, already
quoted, has given an exhaustive treatise on
the appoggiatura. The art of ornamentation, and
particularly the use of the appoggiatura, had
attained their fullest development with him. Many
of his examples would never find place in music
earlier than his. He himself has been so careful
in noting down the exact performance of the
appoggiature in his own music that it might seem
unnecessary to reproduce all his instructions.
He has shown not only how to interpret written
appoggiature, but demonstrated by examples
where they should be placed in incomplete texts.
Besides, he confirms, enlarges, and deepens the
precepts given by his forerunners. At the present
time, however, when so much ignorance, and,
— worse still, so many wrong notions prevail,
one could hardly fear to be accused of shedding
too much light on the subject. As was said
before, Marpurg, and probably others, had started
the idea of writing the appoggiature with small
notes of the value they intended them to have.
C. Ph. E. Bach adopted and systematized this
plan. As a result, we can always know how
to play his appoggiature by examining the
value of the small notes used as signs. He did
not find it necessary, therefore, in the examples
in his book, to write out in full, in measured
notes forming part of the bar, how these appoggia-
ture should be played, unless there was some
special point to elucidate.
Weshall do the same here ;his examples will
be reproduced as he gave them, excepting that the
C clef on the first line will be replaced by the
more familiar G
clef.
ORNAMENTATION 133
And once again, at the risk of redundancy, let it
be well understood that C. Ph. E. Bach's method
of indicating the value of the appoggiatura does
not apply to earlier composers, not even to
J. S. Bach, his father
Eife=E
=«?=
"
At that time appoggiature of such various
durations had not yet been introduced. With the
present taste, however, we could not well do
without a precise notation, since the rules for
determining their value are inadequate on account
of the variety of notes to which they may belong.
" § 6. We
see from Exx. 3 and 4 that an
appoggiatura may be a repetition of the preceding
note or otherwise (Exx. 5 to 12), and that the
following note may proceed by degree, ascending or
descending, or by skip :
~£f zj^r
*b
*-
& r
-n
fc=
Pa
f~
-v V
*
,5 JU_
* This example is one of the exceptions. The author does not explain it
here, but in paragraph 16, where it is repeated.
ORNAMENTATION 135
" We
§ 7. learn further from these examples
(Exx. 1 to 12) how they should be performed.
All appoggiature are played louder than the
following note with its ornaments (if any), and
are slurred with it, whether it be so written or
not. These two points are in keeping with the
spirit of the appoggiatura, since by their means
the notes are smoothly connected together.
" The appoggiatura must also be held until the
following note is sounded, so as perfectly to slur
the two together. The expression, when a
simple soft note follows an appoggiatura, is called
'Abzug' (French Accent: literally, 'dying off').
" § 8. As the signs for the appoggiatura and the
trill are almost the only ones understood by every-
T-g-J'J
-* *- Wz
$ 3z -n- ^^sr-
r 1
T
Ex. 15. Etf. 16.
Wz 5fet
$ ^F^ffF1 If
T
Ex. 17. Ex. 18.
I
J59*
SjJ-p ^ it
J
TZT it
T
Ex. 19. Ex. 20.
HiEL I I
lEEah At
-§^
r r ?-
LfCJ
Ex. 21 Ex. 22.
:*=3= Wz
—« W-
. UJ
Ex. 23. Ex. 24.
<>"
tx3L
^
I
i i^£S
e*e£ L^E
r
ORNAMENTATION 137
Ex. 25. Ex. 26.
e
*r
££ =£ 33Z
i
^
P
Ex. 27.
zj-r—jr-^-
F" "F"
*=tr=
T r
" § 10. Varying appoggiature from below do not
often occur otherwise than where they are a
repetition of the preceding note; but those from
above are used in many other ways.
" § 11. According to the usual rule concerning the
value of these varying appoggiature, we find that
they take half the value of the following note in
common time (Exx. 28, 29, 30, 31) and two-thirds
in triple time (Exx. 32, 33). But the following
examples are worthy of remark (Exx. 34 to 39)."
(The author does not give the rules regulating
these appoggiature those concerning Exx. 34, 36,
;
Ex. 28. Ex. 29. Ex. 30. Ex. 31. Ex. 32. Ex. 33.
-*&- i
$ P
—
i ^^ fei =1=
Execution.
i ^^md^m =&
Ex. 37. Ex. 38. Ex. 39.
£e *E
f =^3=
Execution.
I^Sg 5g=^
i *
" Exx. 40, 41, 42, frequently occur. The method
of writing them is not the best, since the rests
cannot be observed. It would be better to add
dots or use longer notes :
-gi-e-
1
Execution.
i EE ^
(The following paragraphs concern short
appoggiature only the kind called by the author
;
Ex. 47.
=t=t
Ex. 48.
=E=*3#
Ex. 49.
JS
^
Ex. 50.
3EE3E
Ex. 51.
i^E
-8--N-1
MM£q
i T 1
— —»
140 17TH AND i8th CENTURY MUSIC
Ex.53.
Ex. 52.
-I
Jz riM
^"— rpr^s:
Ex. 54.
L^
$ *
Ex. 55-. Ex. 56.
$ m^,
P"-3C5
-t— 1-
5 :i*z
4=**:
Ex. 57.
Ex. 59.
T
*
-m- -m- -»-
H £ _M
fc*=
1
$ -^ f?
r p-
ua
$
Exx. 66 to 92 there are many appoggiature
" In
on all kinds of notes in duple and triple time. In
Ex. 66 a long appoggiatura would also be possible.
" As staccato notes must always be played more
plainly than legato notes, and as the appoggiatura
must always be slurred with the following note, it
stands to reason that in all the examples the legato
is understood.
" Let it be moreover, that with all ornaments
said,
a moderate tempo is required, because ornamenta-
tion is not effective if the speed is too great.
142 17th AND i8th CENTURY MUSIC
Ex. 66. Ex. 67.
=P —
-M hg j=
4J=
=»=£S5rt£S :
SE -W—+-P— '^f-
±=fc?
Ex. 91. Ex. 92.
JL
iigig^ £EE§ =^^=P=i=
ORNAMENTATION 143
" In Ex. 93, where a short note is followed by a
long note of uneven value, an appoggiatura would
not sound well. We
shall see later another kind
of ornament which would be more effective :
Ex. 93.
£3
$=£
E
Ex. 94. tr
tr
J* J.
iftct =93* ±
i =ff= *F
tr
tr
M t=*M
B Execution.
P=#f
:
r
*=
Ex. 97.
Ex. 95. Ex. 96.
ft
=£ \
$ TTJ^'^^^^F
— ——
144 i7 TH a ND i8th CENTURY MUSIC
" In the following
example (Ex. 6, reproduced
from p. 134) the appoggiatura must be no longer
than a quaver, otherwise the seventh thus produced
—
(G F) would sound too crude :
*-J-. ft
^
7 -r
"
§ 17. In using appoggiature, as well as other
ornaments, care must be taken not to injure the
purity of the composition. For this reason it
would not be right to imitate Exx. 98 and 99. It
would be better, therefore, to write all appoggiature
according to their true value :
(Note : the two consecutive octaves in Ex. 98 and the two consecutive
fifths in Ex. 99.)
Ex. 100.
"5 „ +
i 1
T -^ P-
PP
(Note : the cross -f is equivalent to tr.)
ORNAMENTATION 145
" In other instances, however, they might weaken
the melody, unless the following note receives a
lively ornament, or they are themselves ornamented.
" § 20. Whenan appoggiatura has been orna-
mented it preferable to leave the following
is
note plain such simplicity agrees well with the
;
|I W
-
\ "Fi =P=
* SB
" § 20. As these ornamented appoggiature often
require additional small notes, they introduce
other ornaments which are explained later it is ;
iCVC J-H=
i -t
Ex. 105.
i S
— —
146 17TH AND i8th CENTURY MUSIC
" Although the notes following an appog-
§ 21.
giatura lose some of their value, yet they do not
lose their ornament, should one be placed over
them (Ex. 106). On the other hand the ornament
must not be marked over the note which indicates
the appoggiatura. The sign should be placed where
it belongs. If the ornament is to be executed
between the appoggiatura and the main note, it
must be placed between them (Ex. 107):
Ex. 106. Ex. 107.
$
Execution.
——+1— • — —P-»-«-«
1 -l-t-
\-
«=
" § 23. Before appoggiature from above, which
have been written out in full, additional appog-
giature both long and short can sometimes be
used when the preceding note is repeated
(see Exx. 108, 109), but not when the written
appoggiatura stands before the final note of a
phrase. Ex. no shows the bad effect of such
a case
Ex. 108. Ex. 109. Ex. no.
Ex. 112.
iS •3=r- ± d
m
(Note : The + is equivalent to tr.)
—
148 17TH AND i8th CENTURY MUSIC
" The second fault is when the appoggiatura
becomes separated from the main note either
.
'
Ex. 115.
ORNAMENTATION 149
" It will be seen from these examples that you can
avoid such faults by turning these Nachschldge
into Vorschldge (appoggiature proper)."
—
(A protest. The rendering condemned by the
author at Ex. 116 is used by many excellent
musicians, J. S. Bach included. It is nothing else
but the " Passing appoggiature " to be seen later.
The "hateful Nachschlage," as he calls them, have
been in use under the names of Springer, Acute,
Sighs, Accents, Aspiration, &c, from the beginning
of the 17th century, and probably earlier. That
C. Ph. E. Bach should dislike them is allowable
he was not forced to use them in his works. But
his advice that they should be turned into
something else when they occur elsewhere cannot
be approved of. He shows himself distinctly in
advance of his time in taking such liberties with
other people's music.)
Passing Appoggiature.
These ornaments, probably because they were
marked with the same signs as appoggiature, have
been confused by nearly all writers with the true
appoggiature, although they are quite different in
nature. Quantz speaks of them as follows :
Ex. Ex.
^
1. 2.
A£
it
2fe
^5*=^
4=
* 5E ^E£ ^t=S=t
" One must hold the dots, and accent the first of
the two slurred notes, that is to say, the second,
fourth, sixth, &c. This kind of figures must not be
confused with those where the dot comes after the
second slurred note, and which express almost the
same melody (see Ex. 3).. In these figures, the
Ex. 3. Ex. 4.
—
i *£ JSt *=*?
1
fc* mg&
-^-•-a-Fr-*-*
-j— F ill *
i ~4i Efe
ORNAMENTATION J 5i
Ex. 7. Ex. 8.
-P=m^
e£
§ ?E=t
Execution.
§ 1 ^ «^ -=>0-
4=B=
-£=¥^
Ex.
Vt U A
s ?3? Sfe"
tat
Execution.
:fcs£
*"»
meaning
(The signs [J
~ A "will be understood by violinists as
up and down bows.
i z*=*=
-fcsT
:us: m
We shall now consider a few passages in
J. S. Bach's works where the passing appoggiature
occur :
^i
—
jt^L
. ^
=t =£=*
PH r
^=F
-*s—
&-
W£f
=££=*=
-==!
^-T^S
^SE
^
18 25
—
i gggE
ar* rj - !
^=35=
1 ^ ^
l!S^= ^
3=
Ganassi, 1535.
i -d &- 3S^g
A shake identical with this one, showing the same
number of notes and the same termination, exists
not only amongst J. S. Bach's own examples but
in those of almost every writer, from D'Anglebert
to the end of the 18th century. It should be
remarked that the number of repercussions was left
to the player's discretion, in the early days when
the shakes were, or rather appeared to be, written
out in full, as well as in later times, when they
were indicated by a sign or even not marked at all.
Diego Ortiz' " Trattado de glosas, &c," Rome,
1553, has the following shake :
i zezz
Ell
jOO
G. Diruta, 1593.
i ^s
Efe =P-*-F
3=
-$-j-fJT5^ ^
m^
ORNAMENTATION !57
> <-j
i 9 ^-
-f
E
m^ *T*1
ne E^TO^ *: *_
(a)
fg-
"fftEffturtEr
r* 1 _GL
m-?> =£ -
p-rv '^W1
—
158 17th AND i8th CENTURY MUSIC
W
\=rk ntfift^W I3t* 4=
1
&c.
r eJ - -IT3-
Efe
M j_J__i]^_W:
^
Eg
i ip i &c.
w s 5BI
':k=3=S
Ground.
ORNAMENTATION 159
j. J. Plavford, 1654.
ofc 3Z =t m
A Backfall shaked. Elevation.
Explanation, ...
Cadent.
±z
(Note.— The
«ig
Backfall is an appoggiatura. The Elevation is a slide,
preparing a turned shake. In the Cadent the beginning is again a slide,
but the end of the shake is plain.)
Chambonnieres, 1670.
Cadence. Execution.
" De la Cadence.
" II faut
premierement remarquer que par le
mot de Cadence, j'entends le Tremblement ..."
which means, " You must first remark that by the
word " Cadence" I mean the " Tremblement."
Then why call it a Cadence ? " Tremblement
is the right name; yet "Cadence" survived!
Jean Rousseau continues :
"
There are two kinds of shakes the prepared :
D'Anglebert, it
L**v
tl
Tremblement Tremblement
Cadence.
simple. appuye\
C***v
i £
Tremblement
Autre.
et Pinc£.
ORNAMENTATION 163
thus
cplain'd thus :
(£ J 'J J J J
explain'd thus :
continues it. . . .
ORNAMENTATION 165
$ 3fc
Tremblement fermfi.
IEt
Tremblement lie sans etre appuyg. Tremblement detached
i
Tremblement.
1. 2.
*r . r . t
-f^? -*- 8
i
ORNAMENTATION 167
m j "1
r
s^JKiaa
1
*w '
m :t=t
ORNAMENTATION 169
'"
He who possesses the shake, in all its perfection,
even if he were deprived of all other ornaments
could always easily come to the closes [cadenzas]
where this grace is most essential but he who
;
T3 ~
e = £=£-r r it
"
&^(/)
EEEt
(/) (s) Q1 ) z
( )
are shakes with terminations
showing also the introduction of necessary-
accidentals ;
J. P. Ramead, 1731.
A*0
w
1
1 1 1
[A.D.]
p^
$ [/] lei
$ ££S£
Here again the explanations are not well
written moreover, the sign for the mordent ( )
;
>
" The
turned shake being made quick and long
is fit but if you make it short,
to express gaiety ;
Ex. {b) :—
Fr. Geminiani, 1739.
4- s
without ornament.
— ] indicates the holding of the plain note
ORNAMENTATION 177
i Cadence.
merry one.
§ 3. As to the slowness or quickness, nothing
"
must be exaggerated. The very slow shake,
which is only used in the French style of singing,
is as bad as the very rapid shake, which the French
a fault.
"
§ The
shake of a third, which is made with
4.
a third instead of a second, has been in use
formerly and there are still Italian violinists
;
"
§ 5. For a shake to be perfectly beautiful it
must be equal, that is to say, its speed must be
even and at the same time moderate for this ;
Ex.
fee
1.
i
you can make it a little quicker between :-
$
—— .
Mt
QnANTZ, 1752.
|s*c A —
tr. tr
Marpurg, 1756.
tr
§
Le Tremblement.
I** A*0
i
Le Tremblement
double.
*vO0
A
^f=jl
m
ORNAMENTATION I8 3
u«o
iLe Tremblement
appuyg ou pr£par£.
»vxj
Ex. 1.
— — —
184 17TH AND i8th CENTURY MUSIC
" On long notes the sign is lengthened :
Ex,2
-^^=
" The shake
begins with the note above. It is
therefore superfluous to add a small note unless
a long appoggiatura is intended :
tr
Ex. 3.
Ex. 4.
to avoid confusion.
"
§ 7. Trills are the most difficult of ornaments.
All cannot succeed with them. They should be
started in youth. Their execution must before
all be smooth and swift. A quick shake is always
preferable to a slow one. In sad pieces; the shake
can be done somewhat slower but otherwise a ;
Execution.
Ex. 8.
3=S
———
186 17TH AND i8th CENTURY MUSIC
" § 14. Dotted notes, followed by a short note
ascending, should have a termination to their
shake :
m
last note of the termination is
^
Ex. 11.
i
Ex. 12.
m
Adagio molto.
jfe
I
(Ex. 11.) Explained by Author.
(.wrong.)
Ex. 13.
188 i
7 th AND i8th CENTURY MUSIC
" § 15. Since the termination must be played at
the same speed as the shake, it follows that the
second finger of the right hand, and the thumb, are
not suitable to play shakes with a termination, as
the crossing of fingers necessary for the termination
could hardly be done nimbly enough, and the end
of the best trill could be spoiled thereby.
" § 16. The shake without termination suits
descending passages (Ex. 14) and short notes
(Ex. 15) when several shakes follow one another
;
3E^p 5=e
i
Ex. 16. Ex. 17.
ORNAMENTATION 189
Ex. 20.
f*T- Lri i
r^fiFEia
many burden the first note with a trill, although the
shirs usually placed over such passages ought to deter
them from doing so. However strong might be the
temptation, such notes must not have trills. It is
indeed singular that by corrupted taste the best
and most melodious phrases should be spoiled.
Most of the faults occur with long sustained notes.
People are wont to enliven them with shakes.
Their spoilt ear requires continual excitement.
It perceives nothing except a clatter. One can see
from this that such faults are committed by those
who are incapable of singing mentally, or of
starting a note impressively and sustaining it. On
the clavichord as well as on the harpsichord, the
sound continues if the notes are not played too
short. One instrument may be better than
—
i go 17TH AND i8th CENTURY MUSIC
another in this respect. In France, where the
clavichord is so remarkably little known, most
of the pieces are written for the harpsichord.
Nevertheless, the French music is full of bindings
and slurs indicated by curved lines. Supposing
the tempo is too slow or the instrument too bad
to sustain the sound, it is always worse to try to
revive a note, overdrawn and exhausted, by a trill,
than to lose something of the latter part of that
note, which loss can be more than counterbalanced
by skilful playing. In music many things occur
which require the help of the imagination, because
they cannot be clearly heard. For example, in a
concerto with a full accompaniment, the soloist
always loses such notes as must be accompanied
fortissimo, and those which are in unison with the
tutti. Intelligent listeners supply whatever is
thus lost, through their imagination, and it is these
listeners that we should endeavour to please
before all.
"§ Other faults occurwhen a lame termination
21.
is appended to a trill (Ex. 21) [the Trill (a) would
not fit at (b) (see par. 14] when a superfluous note
;
(+)
Ex. 21. 53
(a) (b) Ex. 22.
-£2-
>-»-*-
Ex. 24. =P-»* 4=P
=£tt
-o-
Ex. 25. qaz
bS-
G**v
Ex. 26.
"
§ The
Half-shake, or Sudden shake (Prall-
30.
Triller) indicated by clavier players, and
is
Ex. 27. Bl
—*r— *- —3=*
;
m-j-t
"
§ 31. As the half-shake connects the note
upon which it stands with the preceding note, it
ORNAMENTATION 193
4 3 4 3 4 3 4 3 4 3
3 2 3 2 3 2 3 2 3 2
-*-»-
^Sg ^&
Ex. 29.
1^3= =H=
1- e£ 3=t
-*r>- -1
frF
-*-*-
Ex. 33.
j^EgggjSEifefl
1
~%i
(Execution.
1
—A. D.)
§ 35- The
" sudden shake is often found in
passages where three or more notes descend :
Ex. 34.
m f— ulr — r =±E
ORNAMENTATION 197
Tremoli.
jfM^^^JBSife ^^g Jg ^l
Ex. 1.
Ve
Ex. 3.
ie^3r-$-*tt1t&-&&&
F- -*_*-*_ :ta=t»;
$
m :fc=fe=fc=fc=fci3*=&=fc;
d s ZM d d S —d-
Ex. 4. tr
m — r— • m-
i ZZ2Z. -a
Ex.
^^S^^
5.
tr
±=*Z
Ex.6.
tr
i 3=tZ -4_M—<21
Ex.
i ps
7.
tr
jfcaz fe-M-» ^=f
-M
-»—*—*- _d_*±J:
m
At page 235, Praetorius explains the Tremolo
and Tremoletto mostly by examples, but also with
these few interesting words (Ex. 8) :
it Mordanten or Moderanten —
Ex. 8.
Tremulus Ascendens. Descendens.
(a)
^ ^~^~S
'
w (/)
^^gl g=*=
3^££ g=p^ s^
te) (*)
I ^m^^z^
-^~y~ »
(0
" And these are used more for the organ and
iSEEsEF
1
£ is»i*»n*ja
Acloft Shake fxplan;
Balancement. f
i Z
V V V 'b-ttt
" A
long and expressive note requires a
'
Bebung,' during which the finger remains on
the key and evenly rocks it; the sign for it
is thus :
Tremoli, A cciaccatura.
German Mordant or Mordent, Beisser, Zusammen-
:
schlag.
French Martellement,
: Pincement, Pince, Batte-
ment, Mordant.
This ornament consists of the rapid alternation of
a note with the next note below it. The interval may
be a semitone or a whole-tone, according to the
scale. The main note is played first, and bears the
accent. There may be one or more repercussions.
As this ornament does not alter the melodic or
harmonic character of the principal note, but
—— —
210 17TH AND i8th CENTURY MUSIC
rather emphasises it, it is equally suitable to the
early contrapuntal and to the later harmonic
music. The note above the principal is sometimes
used instead of the note below the ornament ;
p=^SB=
2t
qpq=
M~* S » ^ss
The true mordent and the old shake are very
clearly differentiated here, and the rule given can
be applied very frequently in the music of that
period.
Diruta, in " II Transilvano," 1593, has mordents
amongst his Groppi, but they are more like
divisions than mordents proper, for instead of
stopping on the principal note, they lead straight-
way to the following :
Groppi. '
^= 3B5 Z3Z
^££5i£3^*SE #.*„*.#
333
Groppi.
m *i*J-mJ-^ XJ*
S3E2S
ORNAMENTATION 211
Chambonni£res, 1670.
1
Pincement.
-*—=i=W^
I
w
In the " Harpsichord
Pieces " of Monsieur
Le Begue, 1677, the sign and execution of
Paris,
the mordent are the same as in Chambonnieres.
The name pincement became pince, and the latter
form remained in use in France until the
19th century.
In the Introduction to the " Pieces de Viole "
of De Machy, 1685, the mordent, which is there
called " martellement," is thus explained :
D'Anglebert, 1689.
P=E
Pince. Autre.
Tremblement
1
et pince .
G. Muffat, 1695.
+ or
i&
^=i=P=i=P= =*=S=Pc:
—P
mark'd thus ; explain'd thus " :-
¥^
This isa mordent preceded by an appoggiatura.
" The Compleat Flute Master, or the whole
Art of playing on y" Rechorder," anonymous,
London, c. 1700, has a quaint way of dividing his
shakes into "close shake" and "open-shake,"
the former being the true variety, the latter the
mordent. These appellations are logical enough on
the flute, for a shake must finish with the shaking
ORNAMENTATION 215
:oz
I T
PincS simple. Pince' double.
pip
Effet.
trtrfrf^
5E SE
:E
Port de voix simple. Port de voix double.
iH ai
2^3 •P-P2-
—
—I- _t
1 m =i
Pinc£s di6s£s et b<5molis£s.
paEq^gj^ii^Ba
Ex. 6.
X T*
I 4=
Pinc6 continu.
3=tt tzBJ P
The before C in Ex. 5 lowers the C# a
flat
semitone thus becomes C natural, not C flat.
; it
"Mdthode."
'T1 ih E. Couperin, 1717.
Pincg-simple. Pincd-double.
iEffet.
*=e
KJ*: £ i*
"
Every mordent must be stopped on the note
upon which it is posed and to make it clear I use
;
£=F
$ -P*=
s=
E^piiES^E
Ov
$ S=2P=::^^P
-1 — "-f m^
iffi^
P f p f -*—*^i-fi-r £Si
1 1
J=m-
tr^\\ 1—1
^
I
I
Mf Staccato.
if PSB*
fi=2±tt s=fe
E^^^^g:
' aj J:
f=P
J. Ph. Rameau, "Pieces de Clavecin," 1731,
uses the comma to indicate mordents (pinces).
——
i Pincfi.
=t
i =t
Mordant. Trillo und mordant.
feilli=ss
Very little need be said about these. Bach
obviously wanted them to be very rapid, and on
the beat. The number of repercussions was left
to the player when the principal note was long
ORNAMENTATION 219
notes.
" 3.There is a special way of making the
§
mordent when it has to be very short. One plays
the two notes together (Ex. 1), immediately
releasing the lower and holding the upper one only.
This manner is not to be despised, but it must be
used much more rarely than the other mordent.
It —
occurs only ex abrupto i.e., without connection
at the beginning of a phrase or after rests.
(This is the Pince etouffe, Acciaccatura, or
Zusammenschlag) :
P=#=F
B Ex. 2a.
-fast
Ex. 3a.
:
Ex. 4.
sly *|v
m -F^i
Ex.5.
si
1— P-»-
Ex.
=S=^
6.
**/
35E
i
ORNAMENTATION 221
3E
wm
i *
-*tr
Ex.8.
I
Aft AY AY
-4~-
5+3E
_^
-4>-W
Ex. 12.
AY
in -s^^F
(Execution, A. D.
Ex. 13. Ex. 14.
AY
i
-fti-
s
-o-jg —*- :S:
^=
Ex. 15.
— —
224 i7 TH and i8th CENTURY MUSIC
separation of the mordent from the shake, for
one ought never to crowd ornaments behind one
another.
"In Ex. 19 the right way to treat such cases is
shown. The duration of the mordent depends on
the tempo, which, of course, cannot be fast, or
else this expedient would not be needed at all :
Ex. 19.
Adagio. Played thus: ,, C. Ph. E. Bach, 1753.
f\»w o*v 'f*
v
tnF=t=t
$ *5 ZZ2t M
r r r r r
" § 14. The mordent and the half-shake are
the reverse of one another in this respect, that the
latter can only be made on descending seconds
whilst the mordent can never be used thus. They
both fit well on seconds the mordent when they ;
^=F=
Sffis
i
Ex. 4.
W-m W
Ex_5.
m S=P=
— —
226 17TH AND i8th CENTURY MUSIC
Chambonnieres, " Pieces de Clavecin," 1670,
example
gives the following :
Chambonnieres, 1670.
i <^
p^=^
$ -1 1 E
In the original the last C is made a semiquaver,
an obvious mistake.
Thomas Mace, " The Lute," &c, 1676,
page 107, says " The Single Relish
: is .',
Ex. 5. Ex. 6.
CN3 -I
i
Sans tremblement. Sur une tierce.
S^LBrrFg g
—— —
G. Muffat, 1695.
as tr
tr
f»F
" The sign for the turn, being placed after the
main note, ornaments the latter part of it. The
quaver D
becomes transformed into a semi-
quaver, according to the rule for the playing of
short notes after dots. The following shake would
of course begin with an appoggiatura, E."
In Purcell's " Lessons for the Harpsichord,"
1696 (posthumous), we find this amongst the
" Rules for Graces " :
^^ggt
the mark for e
y shake turn'd thus-
explain'd thus —
3^3^ fc^E
Louli£, 1698.
tr 00
^
$Tour de gosier.
i-
=
s v *~s '~
. — —
mw=* =t=
Double. Double\
-Ki^m=P- 5C5?C
I
¥ J=t
J. S. Bach, 1720.
g»»v C**v
i
Cadence. D oppelt-cadence Idem.
ORNAMENTATION 231
The combination ^
occasionally appears in
Bach's music. It should be played as explained
above in connection with Fr. Couperin.
Th. Muffat, 1726, has nothing new to show.
J. Ph. Rameau, 1731, calls the turn
" Double,"
and treats it like Couperin.
Charles Dieupart, " Pieces de Clavecin
(
c- x 735)) gives the following example :
i £=&3E5
Double. Groppo.
Marpurg, 1756.
00 CO
.2
-t-
Le Double.
ORNAMENTATION 233
Ex.6. Ex. 7. Ex. 8. Ex. 9.
grUhJm
m -*-»-
stti !*^fc*: zt±a
P
Ex. 10. Ex. 11.
CO 00
i HH-
i
tr tr tr tr tr
&c.
^
(a)
WB
tS &c.
Presto.
— —
236 17TH AND i8th CENTURY MUSIC
" § The sign for the turn is very little
17.
known outside of clavier players yet this ;
£=M= 3=
-1 — i
i
;?=£
-*-*.
^m
tr
T-S1 &m tr
jp—.
35 &
tr.
PP
Ex. 13. Ex. 14. Ex. 15. Ex. 16. Ex. 17.
tr
tr
aziz -*=*--
m
Ex. 18. Ex. ig.
Recit.
^ IK
3fc3t
m fp^T
ORNAMENTATION 237
In Exx. 4, 10, 18, 19, no other ornament but a
turn could be used.
" In Exx. 13, 14, 15, and 16, where the third
note a repetition of the second, a shake would be
is
is given :
SECTION VI.
The Slide, Elevation, Double Backfall,
Wholefall, Slur, Bearing.
French : Coule. Flatte.
German : Schleifer.
BOVICELLI, I594.
i S§3 221
1 ^t -*
-i—
d * m »- m-m
PRiETORIUS, 1619.
feM^^J^I i *-*-*-
^^nrrriZ
I*= BS
Praetorius, as we know, was quoting Italian
authors. It is worthy of notice that in all his
examples, except the last, the first note of the slide
is held and accented in the manner condemned by
Playford, the very manner which became the rule
in the 18th century.
Later, in " Playford's Introduction," among the
" Graces for the Viol or Violin," already quoted,
— — —
Double
—-= u *fc
Explanation.
Backfall.
m m Whole-fall.
Chambonnieres, 1670.
-19
5!=*=
i Coule\
H. PURCELL, 1696.
A slur is
mark'd thus
i -m-
Explain
thus "jigp
D'Anglebert, 1689.
m
Coulfi sur
1
30E ^2-
^^
Autre. Sur 2 notes de suite. Autre.
une tierce.
j£2
l^^l :p>=p: 5=«=P==pcff=jt
EEE&3=r=$Z*=&
G. MCFFAT, 1695.
f^l
ORNAMENTATION 243
$ E^
-^*=
Z
M E^izr ifte
Explanation.
w IP) w
$ BEE St ^5§S&*
=1=
difficult to remove.
The sign ^ used by Walther had been
previously employed by Joh. Kuhnau, c. 1689.
J. S. Bach made frequent use of it but during the ;
s=t
Acquivalet Huic.
^5^ 5£iE
i Tierce coulee, Tierce coulee,
en montant. en descendant.
i
^Xw EfiG
W
Effet.
$ ^4^ M^m
^r
SS *
Fr. Wilh. Marpurg gives the following slides :
$
zi^i
w=S=m '-¥=*-
Ett --tst
Schleifer.
— —
246 17TH AND i8th CENTURY MUSIC
Principes du Clavecin. •
1756.
Fr ^^ Marpdrg
—
_ _
f^—
-j-*-
h r w? f j
±
1 1
E^E
Le FlattS.
P^SB^apPg^^l
Andante.
J. J. QUANTZ, 1752.
Ex. 1, Ex. 2. Ex. 3. Ex. 4.
B m^^^^&^w^^^
^
In C. Ph. E. Bach's " Versuch, &c," 1753, we
find mixed with the true slide an ornament of three
notes which, being really an inverted turn, finds
its proper place amongst the turns, and need not
detain us further.
The following compendium of C. Ph. E. Bach's
precepts and examples concerning the slide will be
found useful :
w — p=
1^3 p-*~~ ^H-#-W-
t
mm
g.
§3=32
—-sss^i\— «F
Execution.
/ p f M (*)
3=4&--& 3£
s 4=33= pz:qs:
t?~ * .
r_^_
Ex. II.
Ex. io. Notation.
1
Z
s
Execution.
=£8^=8 J=3
$ *i
T -r
-*r%
^5 r=r=r=^
Ex. 12.
i *=£
J-3-
:*=^
J L
Pi^*
#*
Ex. 13.
Notation. Fig. 14.
$ 332 S± m
-*=*z
TT—r
Execution.
-P-^r
(*)
fe SSj
i I I I I
ORNAMENTATION 25 1
Ex. 15.
Notation.
±X±=g =S
¥—b#p
Execution. (6)
•15 :5&:
^
SECTION VII.
The Springer (or Spinger). Accent.
Acute. Sigh.
French: Accent. Aspiration. Plainle.
German Nachschlag.
:
PRjETORIUS, 1619.
s
Ex. 1 5 6
ir ^=
F^ g*-*- ~jdoli:
A springer. Explanation.
3=5
i z+±E=5i
— . —
252 17TH AND i8th CENTURY MUSIC
Ch. Simpson, in his " Division Violist," 1659
(page 11), says :
mExample.
^EE
gt =Hiv-»H-t9— :
=*=P=
£3E 3*42-
Explication.
-*•-*-
w -pc
Ig=t
Wr^^=ff^^^^=^m%=* ^=t
m P3= £3E £*
=tt ZZ2Z
Wl
?2= jjfeggfeg =t=t
£EE
—
i
i SP E£
Louuij, 1698.
4-
lE3z
V Accent.
I EPI^SEBE?
Et=^t=^z t= izrdz
_j —LL
i is
-£2= ©-=--
*=
Accent.
i
ORNAMENTATION 255
I: £
Execution.
m-^-P—^~W m-—W—»-
$ —»— '
" —1—~ r
f^f-
ORNAMENTATION 257
an appoggiatura with its accent on the auxiliary
note, whilst there must be no such accent in the
Anschlag. The word " Anschlag " literally means
" striking at."
No sign was used for this ornament : only small
notes.
It is first mentioned by Quantz in his " Versuch,"
&c, Chap, xiii., § 46:
"The two small notes at (a), (b), (c), (d), (e), (/), (g),
which form a skip of a third, are an Anschlag,
which singers use in wide intervals, to find surely
a high note. If you wish to make no other grace,
you may use this Anschlag on all rising intervals,
from a second to an octave, before long notes on
accented or unaccented beats. But it must be
joined very quickly, though softly, to the note.
The note itself must be a little louder than the
small notes. At the second, fourth and seventh,
(a), (c), (/), the Anschlag is more agreeable than
with the other intervals it sounds better, therefore,
;
Quantz.
"Versuch," &c, 1752.
-f-j±m=3s X-
f') (/) (g)
—
i
ta
3t Jkzai & -f£*-
*
&C.
^a-s
fc3=^= ^F
And yet this is not a true Anschlag, for the skip
between the two auxiliary notes is larger than a
third, and the first note is not a repetition of
the preceding main note. It should, however, be
treated as an Anschlag.
Fr. Wilh. Marpurg, in his " Principes du
Clavecin," 1756, gives the following examples:
Le Port de voix double.
Ex. 1. Ex. 2. Ex. 3. £ Ex. 4. Ex. 5.
A
m 53 !3i £:=*=-
I
f^gF^^pa^ 3^:
<*-H*i
Ex. 6. Ex. 7.
IS IS
&±-^fete
=H==^=e
as
OT 1 1 1
=^3^
ORNAMENTATION 259
In Ex. 5 we see an inverted Anschlag, a very
rare ornament.
In Ex. 6 the Anschlag is dotted. Its nature is
much altered thereby, as the dotted note must
perforce be accented. It is questionable whether
itshould be called an Anschlag in that form.
C. Ph. E. Bach, in his " Versuch," &c, 1753,
has a chapter on the Anschlag. Some of the
rules and examples are valuable, and complete the
preceding information :
Ex. 1. Ex. 2.
Ex. 3. Ex. 4.
IS
53sm=k JJ frNl— £-
i ii: Ef=pE
SECTION IX.
The Arpeggio. Battery. Broken Chord.
French: Arpege. Harpegement. Harpege.
German : Harpeggio.
Italian: Arpeggio. Harpeggiato.
repeated at pleasure."
This clearly tells us what to do, but not how to
do it. Plenty of information is, however, available
from other sources, and it is hoped the sequence
will make everything clear. Meanwhile, here is the
beginning of Frescobaldi's eighth Toccata, first
as it stands in the original, then as it might be
interpreted. The long bars of the original
ORNAMENTATION 261
|3Ef£ £^=F
*=*
fct y^
-PC
I
?2-
it=±
-fed:
|giB^
.bsisis-
H
-»-*-
*-p-
=»?i=ft^F-f
-F » f 1-r
•/*/ V\ fch==:L
I
m te =S=P=iz
t^tf:-
=p=s=f-»— •-*=
4=BE£5£fi
^^
-9-
'L-U i
&c.
32*
^hb;
£B*eS
r
The same, interpreted :-
*— —* r"h* *~
2 62 17TH AND i8th CENTURY MUSIC
Hh
ORNAMENTATION 263
Plain cadence
Ex. 2.
SfS:j=3==F =3-
i >=§= 5*2=t
SLJT
izB-- -«=P2-
-*—\-m-
W=t =t=t=
tr
Ex. 3.
^
-*"
=P^
^S ^
3:
Ex. 4.
ORNAMENTATION 265
r
3E
Ground. H. PURCELL.
AW
^=feJE^Ja^f3^=^^
i-fr£^ Nd_
^
=.e
m^-
: — —
/^- t-l
H. Purcell.
m& tefc
(4th bar.
ORNAMENTATION 267
3=^E
i <sM-
«: -~*- z
3-1
r =E -Sf-*- z3^EJ
£>fcfc
"7=3" •
but the first two are named " Cheute," which is one
of the names of the arpeggio. The additional
notes, B in and D in Ex. 2, are
Ex. 1, B
appoggiature, and may have been foremost in his
mind on account of the alteration they produce in
the chords.
— —
268 17TH AND i8th CENTURY MUSIC
" Pieces de Clavecin j" 1689 D'Anglebert.
$m
Cheute sur Cheute sur
£
&S &&Ji
$0Ex. 1. Ex. 2. Ex. 3. Ex. 4. Ex. 5.
Hi
Ex. 6.
^
:
1
ri
z3=E=
m 3= r
Arpegement
en montant.
ma Arpegement
en descendant.
\
Effet.
Nf* ST
'
La Guitarre.
'
mm X* -JU
t—zr-^r
:&c.
'
' Le Moulinet. '
^F -*~r
l
6=i± Mm*
Stt=t= 3E :&c.
m Harpegement.
Battery.
?
M
$
- ri
m — *=*?
d i
^
d
±-j —
'^ '
<#
j
-r "
'
*£ em
ment
r
Arpe-gement simple.
r
?^
figure.
§
fe&fe Jz
p^§ m^
W^P
S3 I
Notation.
— 1- &
zm=Mi
Execution.
'
Fantazia."
Original text. Interpretation. C. Ph. E. Bach.
4
i^^p^^^ d-
Arpeggio.
&m*
'
Fantazia.
'
C. Ph. E. Bach.
Original text. Interpretation.
$mmm
r\
J— «-l-
m?&
Ftf^
J—J- ^S?
& r 1 lEgfe
Arpeggio.
7?-
1
7=>-
1 nt.
272 17th AND i8th CENTURY MUSIC
I
*f
3=1 M
& I^Mm
TKl decrescendo.
i
ten
m
& -
KM!K
nt-wi—^
#**-
89
^
* i
H = a fe».
9 % r
ORNAMENTATION 273
But thisvery freedom increases our difficulties.
Some arpeggios of Bach, where the changes of
harmonies occur at irregular intervals, and which
contain figures in the inner parts, require much
experience and study for their interpretation. In
Preludio xxi., from the second volume of " Das
wohltemperirte Klavier," which is a free fantasia
similar to those of C. Ph. E. Bach, the following
passage occurs at bars 16, 17, 18:
Execution
m^
^
£fei
FE* ^=p:f
-rt-t-
ss*=
ss^tj'
mtt
ffiE*
3£
i
=ft*f
(17)
=r*
ORNAMENTATION 275
SECTION X.
Expressive Rests.
Crackled chords, The Tut, Detache, Aspiration,
Suspension, Silences d''Articulation, Son Coupe,
Staccato.
=*L
T-
ORNAMENTATION 277
The Suspension is an interesting ornament :
$ BE*: ^ ^=P=P
Effet.
i -IE
Staccato.
=1=
3E
=t
E =± -=g=^
There being as yet no reliable reprint of his
examples will prove valuable.
pieces, the following
There are complicated ornaments combined with
the suspensions. The student who has persevered
so far should find no difficulty in solving them :
'
L'Entretien des Muses." J. Ph. Rameau.
i ^ ^nt
jCt. -/» wr
m=z
&- ^ i 1
jL J XT —t^v
! -J-Jr-
ifr
2 8o 17TH AND i8th CENTURY MUSIC
"Les Soupirs." J. Ph. Rameau.
Md^^t g§
i1
-»—1r
v V
Tendrement.
:pp
^ifinr-pz
^ =j=£
-»
-*1—*- 1
Et
jOL &c
gits: -r=t
(The quavers slightly unequal.)
USE -*4
i*=t
W
We now come to these " Silences d' Articulation "
for which there does not seem to be an English
name, although they are absolutely indispensable
to music. The wind instruments with their
breathing and tongueing, the bowed instruments
with their bowing, cannot help using them. In the
pianoforte, the enormous emphasis given to the
beginning of the notes by the blow of the hammer,
ORNAMENTATION 281
of a piece."
On keyboard instruments the articulation
depends entirely upon the judicious introduction
of rests. Those ingenious 18th century people
whose ambition it was to reproduce mechanically
the artistic and expressive interpretation of music,
were constrained to study these details. We
find
in " La Tonotechnie " (quoted page 43) the
following interesting pages :
SECTION XL
Tempo Rubato (in English, " Stolen Time ").
considered now.
ORNAMENTATION 285
1
Nuove Musiche. Giulio Caccini, 1601.
Execution.
$^
SS=r=fe
^ 1
u '
-a .
F?=e
§ i=t
4^i
i f-
E± S=^
W (*)
i
" One can
see from these examples that the
length of the bar as a whole is not altered,
consequently the common but ambiguous German
expression, Verriicktes Zeitmasz (deranged time)
is not appropriate, for the time of the bass has not
been disturbed, the notes of the melody only
having been displaced.
"Even in cases such as shown at (e) and (/),
which are evolved from example (d) by the
addition of notes, both parts come together again at
the end of the bar, and there is no real disturbance
of the time :
r"5 f
**msi.
•:•-**-%
;p=s=
W
1 f !
T
gg^Bfe m
~rx
(/>
instead of (k) :
P f P f f P f P
Harpsichord).
" The Example which follows, has however
something in it peculiar, as it serves to specify a
signature called Tatto, which has a very great and
singular Effect in Harmony, and which is perform'd
by touching the key lightly, and quitting it with
such a Spring as if it was Fire."
'
' Examples op the Acciaccature as Passages of Melody, Appoggiature
and Tatto for the Harpsichord Observe, those notes with this mark
:
'
:
Right Hand
^--&tf
to
-
Pig
=58
t et
-JTJ-—^
Left Hand. Comb, of Chords.
*p>-
SeH rf
Ground.
^35 3=
1
=-- Td*"^- ^ -
^^zM
rn -R
-t-l-
zsBz
=f=F
?£E3 s* m*
#6 _
^
i^i^^^^^ ^* di
-U R& 3efe
^fgjp^llpj
^
7 6
i- -T3=
W^
Appa.
g§^
i fe-i^ g^pp^gi^i
g^-
-y 1
*3
m i!
ORNAMENTATION 291
nran-ferag p=
*&—^r
~ar
=i£=
J» li.
sat "77"
|=-^_^^^ ^^^
-
£H Q_
£ig= -P-
M
=#R
7
mm
7
zfe^z
iL
^ -r±-
V*
Appa.
292 17TH AND i8th CENTURY MUSIC
No author but Geminiani seems to have used
the word Tatto. It means literally touched,
and is equivalentto the French Tactee (see
" Silences d' Articulation," page 318).
This Tatto is the true acciaccatura, whilst
Geminiani's acciaccatura corresponds to the
passing-notes of the figured arpeggio (see
page 269). Some of his chords contain six
notes each hand, and others which only-
for
have seem, nevertheless, unplayable in the
five
ordinary way; but they can all be done, in some
cases by playing two notes with the thumb, which
does not prevent the release of the auxiliary note,
or by sliding a finger from the acciaccatura to the
next harmony note.
His quadruple appoggiatura appears rather
formidable, but it sounds rich and effective if
well done.
D'Anglebert, whose Table of Ornaments is so
complete in other respects, does not mention the
acciaccatura ; yet he uses it frequently and in a
masterly way, especially in those fascinating
unmeasured free Preludes which are as yet
inviolate from modern editors. In the excerpts
given below, the resemblance of the notation
to the example from Geminiani above cannot
fail to be noticed. It points the way to their
interpretation, which is nevertheless beset with
:
difficulties.
Their realisation in ordinary notation being
impossible, an opposite method
adopted here, is
which, by showing their bare harmonic structure,
will enable a performer fairly conversant with
interpretation to understand the ornamental
clothing indicated by D'Anglebert's text.
ORNAMENTATION 293
The first two lines and the conclusion of the
firstPrelude are given. In the latter, a line
between two notes respectively in the treble and
bass will be seen. It indicates that these two notes
must be played together; and inversely, that the
others should not :
-*-«-'- :cz:
~^&- °T -&-i-
m--
32.j.
-£2- £
Harmonies.
=1-1 jrFfr-*^
m T
x±
$ 33=
=1^ ^
Tjr
n ^ ~rzr
^| K TZ
rpdz -ri-
m--
T-
294 i7 TH and i8th CENTURY MUSIC
$w ^^^^ 1=J=^=2~
mz &± -&-i-
-e-J-
^ E
^F=*
q^m
3^s
s ?SE
^t
"O-
"K ^=?
ORNAMENTATION 295
^ -0-5-
^
i ^
1
^t
i ^^-fs^—oz*3— #=5f-«—j-^-e-^d:
^ *mlT
—
&c.
O Q Q-
==}«=
.
.. - 5
I ^
I'll I
•
9 ~C3~
-nr — *=fc
r-*"OC
m=±3= i-
—i—P—— —I—
4—J— — t-
IK
Harmonies.
$ ~?~
m tp-
s=i
p^s^ ^z 'g
>v
^'^ ^
St:
"Q-
w
ORNAMENTATION 297
3f£*
3*fe* ^tt~t~^^5
@Jz
I
m -0-5-
I iT:
"zr *
Sin
"cr
298 17TH AND i8th CENTURY MUSIC
W-P—m ~rr rr
$ ^2-
5*°^
G>
-I ——
1 I-
=P=#=
zizta
w -&-)-
i^l --m
-U=v
$ 3§l£ _-
$ ::
te
ORNAMENTATION 299
Examples of acciaccature are not rare in late
17th and 1 8th century music. The auxiliary notes
are often written like the harmony notes, the result
to the uninitiated being chords comparable to the
most venturesome of the present time. But in
those days of figured basses everybody knew
at least enough harmony to distinguish the
acciaccatura from the principal notes. Even now
many players would be able to do the same if they
stopped to think, but this is a thing they do not
often do.
Here follow a few examples in which arrows
point to the acciaccature. It should be
remembered that there is no need to break
all the chords, even though they contain
acciaccature some cases they may be slightly
;
in
broken, but on short chords in a lively movement
it is quite impossible. The chords, however, can
never be so short that the acciaccature cannot be
made a little shorter still and the smallest ;
3 tr
jgg^ai^ggi
u
3 oo i
7 th AND i8th CENTURY MUSIC
>.
±5fcfcttE±EE&.'
* fe=d*tfe£=i=
jfete^i^i g
-i SI «-,
»|BE -SI-
-^pr
mm L J
2* *—
jee
W£&
fct
ORNAMENTATION 30I
^i=^|S
Execution
*
m ^
Scherzo from Partita III. J. S. Bach.
R*I
$± -•=&
1
i**3^: m a
m£f
35 ^--> Ig SESEET
i i
This kind of mordent is called Pince etouffe, in
Italian A and it is much used in the
cciaccatura,
bass. When changing from piano to forte, it can
be used successfully to reinforce the harmony."
SECTION XIII.
Compound Ornaments.
§ i. Compound ornaments are frequently used;
some of them are easily understood, others not.
Among former are the Appoggiatura and
the
Shake, in which the appoggiatura consists of the
first note of the shake made longer than the others.
As this is the way most shakes should be made,
and it has been explained before, there is no need
to say much about it.
John Playford, 1655, Christopher Simpson and
Dr. Ch. Coleman, 1659, and Th. Mace, 1676,
call thisgrace Back-fall shaked, and use no other
sign for but that of the back-fall.
it
3=
ORNAMENTATION 3o3
Explain'd thus
u
;
l^*v
it
Accent u.
Idem.
trillo.
$ -mr^rn
m
" A
p_^^g^E>--^^F^P=:
shaked Beat, Explan."
=p
i
How troublesome that our usual sign for a
shake *w should thus be misapplied !
( f) so frequently seen
not only in his works, but in those of Rameau,
Mondonville, and others :
ORNAMENTATION 305
J. H. D'Anglebert, 1689.
Itei Cheute et
pi nee.
^=Ie
is =t
Port de voix
simple.
P^& ise_±
Port de voix
double.
i^i
5&E
gl iMm
Effet. Effet.
Dandrieu, c. 1710.
$
o*f-
Port de voix
et pince.
^^
Rameau, 1731, uses the same sign as D'Anglebert
(see above), but illogically calls the ornament
Pince et port-de-voix, although he would certainly
have objected if the pince had been played first.
— : — —
J. J. Rousseau, 1772.
I m
Port-de-voix. Port de voix jette.
--&-
~¥=i=W^ =P=i=P=
£=t EffiEE
or as a shake*-and mordent
PESP
but the oldest and best way is to regard it as
a shake with its natural termination, as it was
in the earliest period covered by this book, when
its name was " Groppo " (see p.
154).
This ornament
given in Th. Mace's " Musick's
is
Monument," 1676, under the name of Single Relish.
The author says (page 107) that it is generally
ORNAMENTATION 307
done upon the Ascension and Descension of a third,
thus :
Ascending Descending.
i ^ P- ._—-!=£:
i =d_=3
Their Explanation.
Sign 00
Signs *o wZ> — —
**«8 «»
—
310 17TH AND i8th CENTURY MUSIC
C. Ph. E. Bach, 1752, mentions the trill with a
termination (N achschlag) and gives the sign *u-
,
is common.
i^
Whatever may be thesign to indicate the shake,
or there
if be no sign at all, the shake must be
performed according to the usual rules and ;
is r°M3:
=§§y
" This Prallender Doppelschlag is used without
or after an appoggiatura, but never otherwise than
a Prall-triller, namely, after a descending second
with which it must be connected smoothly and
softly —
00
Pi t=r
S=T
-P3- =£=]=
i
$ -j^ict
-W=¥-'-
> I
Shaked Cadent.
Explanation.
3r
The trill
i
may have
m$m
a termination.
ORNAMENTATION 3i3
*r=
p
i E: tr
^^EfejEEE^£=EptpE
tr
z*z=j=-W=-
=t=t=t =*=*i
« tr
q==T= =E=t
fflv-r*V»-jW«7*-y m 1
w *_
rn^E 3=c i—
ar»-*»Tr*-*r~*
E
*
#-1
ORNAMENTATION 3i5
J. H. D'Anglebert, i£
C/»*v
i
Cadence. Autre.
e** ~ <Uv
i =t
Double Cadence. Autre.
2=P
Doppelt Cadence. Idem.
316 17TH AND i8th CENTURY MUSIC
$ Doppelt-cadence
und Mordant.
I
Th. MnFFAT, 1726.
$ ±3E tt=t
-TCI5K
f=f-
5 g==zjJzg.-^j=g "*-afcgz
$ -t
Double Cadence. A shake turn.
ORNAMENTATION 3i7
Signs.— F. W. Marpurg, 1750-56.
G** '
m lil
Le Tremblement coule en descendant.
Signs.
; — ; ;
implied ;
1. Cadence Detachee
Simple.
p^f=T=t£k=&=^ tUL&^
2. Cadence Detachee
^^
Double.
f^rr^^=^^^pL!L!^^-^^ ^
:
6. Cadence Appuyee
et Liee.
7. Cadence Ouverte
et Detachee.
8. Cadence Ouverte
et Liee.
9. Cadence Je-ttee-
3 20 17th AND i8th CENTURY MUSIC
10. Cadence Finalle.
|^H=gipEEJ^^E£==iE= !
^
14. Chutes de Pinces
-m m-
^ss^-ssgf
Ground. Division.
M SBEEEt •*-* — #-
Ex. 2.
4# *sss s
Ground. Division. Ground.
fegjg*
Division.
Ground.
S
FH ii
^^LtL^a
£Z;l i i
— t— FT
mm
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Division. Ground.
-P~*~P-
Division
Ex. 3.
m j -
1
;
326 17TH AND i8th CENTURY MUSIC
i^ps
Division.
zt 1-J—H-a-e-
Jtt
-rj-
I Ground.
221 zefc 221
feig^ -» * — :*=£*
R=»
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t=t±=f=
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t=£=t z£:
Division.
2E
Ground.
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i&i l=ti
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^g a
fgE :PE =P=
S cfc 5
« —H.
P
Division.
p--fr-j:
I£3fc
:c£ zs=t
Ground.
ORNAMENTATION 327
't±— fc£2-r^-
328 17th AND i8th CENTURY MUSIC
i^ipiip^^ipss
$
fm^m t-m-T+t+F'-^is-
Wflt^t
s
is
*=»=
^=HH
f
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^S^^ESg^^^S^
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^ l
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i
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i
1H
p
" I have set some part of the Example in a
higher because this Breaking a Note by way
Cliff,
of Transition, holds good in higher Parts as well
as in the Bass.
ORNAMENTATION 329
" Fourthly, when the Minutes are imployed in
skipping into other Concords, as you see in breaking
these four Semibreves : —
Ex. 4.
-«-kUf
E^E
-
-£>*
-i-p
££ 343=
^fe ^a _d-»_lJ
Division.
Sas=®:
Ground.
m ?&
&S^
33£
ISgSElLml
These to a 3rd higher. These to the 4th below.
m^ ^ lllfeSfe*p5
These to a 6th below. These to the 8th below.
£^=
W^- 4=t -*-*- 231 3=Ft
j-
=t
=fc=:
it,
gs^j
Ex. 6.
#:acficfp..p.
ss
This Division passes into a 4th.
E ^a
r- J !
®t- ^
XT
ORNAMENTATION 33i
Ex. 7.
-m--0- •*--?-
m=&*s ESE
3rd.
£§ — —
or thus. -I
I I-
3rd.
-,--«- »- -!
s^uu Lr^f s
5th. or thus, &c. 5th.
wm eg?
3&r=F
32Z
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7th. ^
W^ S
8ve.
©
Ground.
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2nd.
m—m-
s^tgfEg
15 -j-r—«-
c£B '—' 3rd. u #r 3rd.
@r~rms^
f^
4th. 4th.
wm^S^mmm 6th.
mt t:
^ — »-
6th, &c. Ground.
-•- #- -m-
2nd.
m- -ft-
-^ f fr'
^pf' ^^^g^ 32==:
3rd.
ORNAMENTATION 333
1-4
^J-JT^
«=p^
I aptl
4th, &c.
Ex. 8.
S
Ground. Divisions.
fe ^=^C
^S 3=c
S ffi
W$=t
=P=^ £=S £z
EB
Division.
i.
mr
Ground.
fW— pa—ar—»-rf 1—
ORNAMENTATION 335
2. UJJ *
m jC2Z
m^. m
@fc=te== 3^3H
p^
3.
-4=-
^i^S ^-f-^p-
p=
r
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mr
— — F-
^ 3 d.
^sd^t
ggf L
R
—i i
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s^tb
te
IiPp=
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336 i7th AND i8th CENTURY MUSIC
?==&
ir-^^i.
im
^^-^
33Z
m~z fe==
^pjj^ggf^p
SEE*
f==q=s
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^ g^f^E^i^-
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ORNAMENTATION 337
" Here you see every Note of the Ground broken
according to some One or Other of those five ways
before-mentioned only I have made the Division,
;
Ex. 10.
-n- -*-
=fc=tJ=t =P=F
3=g T3~
m
— ;
Ex. II.
^fe^^S=i^=SEi^=l
(a)
W^
^
=5fa
7rST- F^~l "1
i I
ORNAMENTATION 339
(a thing most frequent) the Bass, by such Running
down by degrees, doth make two prohibited Eights
to the said Part :
Ex. 12.
8 8 8 8
Ground.
J3J5i x]d^
Division not allowed.
^
Not allowed.
Z£
i 22
jgfcg
Allowed. Allowed.
m
" Though this Running down by degrees, be
worse a Consort-Bass, than in Division to
in playing
a Ground ; yet in this also it doth not want in bad
consequence the Organist commonly joyning such
:
Transition " :
Ex. 13.
—
340 17TH AND i8th CENTURY MUSIC
We shall now let Quantz carry on Ch. Simpson's
teaching. He says :
Chap, x., § 15 :
" . . . The pieces in the
French style are most part characterized
for the
and composed with appoggiature and ornaments
in such a manner that hardly anything can be
added to the text whilst in
; the Italian music
much is left to the will and capability of the
player. For this reason, the execution of
the French music such as it is written, with its
simple melody, and ornaments in preference to
passages, is more binding and difficult to play than
the Italian music, such as it is written nowadays.
However, because it is not necessary for the
execution of French music to know Thorough
Bass or Composition, whilst on the contrary this
knowledge is indispensable for the Italian music,
on account of certain passages which are written
in a very dry and simple manner, so that the
player may vary them according to his ability
and judgment, it is better to advise the student
not to play soli in the Italian style prematurely
and until he has some knowledge of Harmony,
for otherwise his progress may be impeded
thereby."
Chap, xiii., § 1 "I have explained the differ-
:
FIGURED BASSES.
Basso Continuo, Thorough-Bass, Basse Chiffree,
General-Bass.
—
Note. The reader is supposed to have some knowledge of Practical
Harmony.
'
Syntagma Musicum," 1619. Pr^etorius.
Risolutio.
f*=p jg.
'
J. g*
ft--
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gSS
it £>
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zpz
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Bassus Generalis. 5
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it
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sgrg ^
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^ ^ :^=
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zi: let d=
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m £2=
JLJL
-o*
—
344 i7 TH and i8th CENTURY MUSIC
Many 17th and 18th century books treat of the
Figured Bass but for the most part they only
;
m^m. -m- m
J34
1
&$ -*&=
Nil
Bass.
1S| :oz
346 i 7 th AND i8th CENTURY MUSIC
*?X 2
g-g^
tr
-£j- abfr
&QF
^
Bass.
Ht$E
3=^EU3±=ra=fcJ
S5QS
Hfe
73"
I
S^Bass.
Ex.
b^^?Sf=^^i
4.
-w
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w
Bass.
FIGURED BASSES 347
Ex. 5. •***
Ex.6.
isas
«jj.' «jj_
ii
life -=t
-P + 221
sas^E
f T
Bass.
P5^ =t=+
Ex. 7.
I =fc*^M=S
-*-»*>-*-
-AdnL-_&L it
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f "T f
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348 17TH AND i8th CENTURY MUSIC
i m
=9^=*
-*—J± m .JSL-iAut
*F=t £=^=
^3=5
jl*
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g=i=*i
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^^g.-
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^ 7 6 -i-i^
4 3
FIGURED BASSES 349
^At the end of D'Anglebert's "Pieces de
Clavecin," 1689, amongst the instructions for
playing from a figured bass, which treat
principally of elementary harmony, there are
some useful things for us to learn. Thus, in
the first example, concerning common chords,
we can see how fully the chords were filled for
accompaniment upon the harpsichord. The
author is careful to state, however, that for the
organ four-part harmony is better.
Ex. 2 also shows richly-filled chords. In Ex.
3
we have a " General Example with all the
Ornaments," where the practical use of the
arpeggio, plain and figured, and the acciaccatura
are demonstrated. Ex. 4 shows an attempt by
the author at writing out in full the preceding
" General Example." Here the time values
of the notes are only approximative the ;
ZT3Z
Ex.
$ =g=
Pour remplir des deux mains.
-&- -&-
w
-si-
iSEE
(Figured Bass.)
Accord Naturel.
350 17th AND i8th CENTURY MUSIC
Ex.
Hgz
zct
=^= i r
p
3
s ZZZE2Z
WEx. 3.
S
^S=S
^F^ 1 — I-
E§E ^=
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7 6
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He :q: =i=
ZC2Z
mgzzz(-f—
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"^"^ *~i
1^1
5 '
4 3
^
FIGURED BASSES
-^^3^S
b=id^g^
3=*=&P.
"F
m=
In 1747, Jean-Baptiste Antoine Forqueray, a
famous French violist, published a collection of
viola da gamba pieces composed for the most part
——
'
La Mandoline. Antoine Forqueray, 1749.
Viola da
Gamba I.
Viola da
Gamba II. &S
Fig. Bass. 7
Harpsichord
W^
—
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m *~
—
W£
Ex. i. F. Geminiani.
^
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Basso continuo.
6 6
^S E^^ -g--&-
FIGURED BASSES 357
J— i- 4
atr»: *:=*:
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pifcir~r i0
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Ex.
i BE
2.
s s m
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m H=F2=t
*+- -*-*-*
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Basso continuo.
zi: smm^rn— * \~ M:
-m— *-
: —UdJ b^E^- p -*- -
m -
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s=^
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FIGURED BASSES 359
y^TrQ ^^^
Ex. 3.
#6 4 3
-1
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Wf\
Basso continue
t=fc=t P
6 $6 6 9 8 #3 4 #3
3=
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n *» s- t^ft
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FIGURED BASSES 361
f^Mm^&pw^^j\**
P
jp1 M fkfefrf^
-!
R=R
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i 1 r te ^^-^5: =2-*-,*'
IS -=r
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4-4-
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te,
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i
F ^531 ^
ff a f-
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se^=^ggg
5=F^»=f^
a, se . . non
w— r
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la
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scia d'a
&c.
tfcJ:
*r=zf:r£: 3=1=
FIGURED BASSES 363
fe=ggp 3E^£
le cru de ri tor
$
ed=§E3 ; ¥^F-
^fe F-S: EjE*E^B
=i
-£=^=!^3=3s= *E £E
te . non tro va
ce - de al pe
i ES ^5
3=3=
CHAPTER VI.
hands :
Ex. 1.
Right hand.
2, 3
S ^^3 "*-^gr
Ex. 2.
4*-
3 2 2 3
Left hand.
X
, 9 , * 3 2 3 ^. A
232123212 321 2
— —
Left hand.
Ex. 5.
Right hand.
S^^^^i S
4 3 4 2 4 &c.
iHgp 2 3 ,2 4 2 &c
Left hand.
» -W —# f —s — #—*—*-#
Mi-
Ex. 6
3423234
i
Right hand.
5^
3 2 3 4 3
^^^=3E
2
2^2123242 *«=3212321
3 4
3 2
S
3 4
Left hand.
434 t »#1 m g-
—
-•-*- 2
;;
' 3 :'-
S=P* 1
^"~F~^"
i 2324 2321 2321 2324
r-*r
Ex. 7.
3 2343234XX
Right hand.
4 3 2
XX
3 3 2 3
3 2 3 4
Left hand.
4 3 3 8 4
^ Hill 3
O ,
^MB^i^^BBB
» «, 3
., 2
/, 3
,_. 4
T 4
1 3
O A 3 /T\
*s 2323 23 2 1 „
2
'
3
—(
2 1
2 3 ~
^r~3'
2
POSITION AND FINGERING 367
Ex. 8.
Right hand. * 3
2 3 2 3 i 2
2 3 _3 1 3 2 3
$^=*=£
~3r-r
Left hand.
2 1 2 3 13 13 2 1 2 3 4 3
4 3 2
—
2
3 2
iTTI -
4 3
342342 34234
Left han'd
4
3
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4
2
3 2
32
4 3 2
3.2 3*23
4 3 2 4 3 2
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POSITION AND FINGERING 371
i si -* — *- it pj- i=p=
* i ^--
=P=S ^ 1
-<S>- -•- 1 1
$^^ W &c.
m5=£
——
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£?"
^
(Despite the long notes in which these tunes are
written, they should be played in a lively manner,
with plenty of accent and an abundance of
" Silences d'articulation.")
Another proof of the backward state of the
Italian school of virginal playing can be adduced
from the instruments themselves. It will be seen
below that Diruta's first requisite for artistic playing
upon the " quilled instruments " (Stromenti da
Penna), as he calls them, is that they should
be delicately and evenly quilled. It is evident
by the " dance
that the ordinary instruments used
players" were provided with strong plectra, in
order to obtain the sharptone required for
dance tunes. But these render the touch
unpleasantly resistant and harsh the snap of
;
a
" i The player should sit in the middle of
the keyboard
" 2°- His body and head should be held upright
and graceful, and there should be no
movement of either in playing
"
3
'
The arm should guide the hand both ;
and he adds :
— " The bad organists who
strike the keys and raise their hands lose half
the harmony."
Now we shall learn from Diruta why the " Sonatori
di Balli " do not succeed in playing the organ, and
how it is possible to play musically upon the quilled
instruments.
"Diruta: The Council of Trent wisely forbade
the playing in churches of passemezzi and other '
'
again with the 3rd and 4th until the end of the
scale, the last note coming with the 4th finger.
This is the way to play all ascending passages.
In descending, begin with the 4th, follow on
with 3rd, and 2nd, and so on, until you come
to the last note with the 2nd, which terminates
the passage naturally.
" Transilvano : Does thus the 3rd finger go with
the 4th in ascending, and with the 2nd in descending
in the right hand ?
" Diruta Yes,
: but whether ascending or
descending, the 3rd finger must play all the
bad notes, and again all the bad notes which skip
the 3rd finger thus is the hardest worked, since
nothing usual is done without it, be it ascending or
descending scales, skips, groppi,' or
'
tremoli.''
$
m £=£
Left hand.
S3
r-2 3-
m\ WS:
" Transilvano
: But why should not the ascent
be made with the 1st and 2nd fingers, and the
descent with the 3rd and 4th (left-hand), since
many worthy players do it so ?
"Diruta: Your question is of the greatest
importance, and with due reverence to the men
you speak of I shall tell you which manner is
the better. Know then that when you ascend with
the thumb, it may turn well on the white keys,
when you play in C major but when you play
;
Ex. 3.
Right hand.
-2-3-2-
5§3 ^^^2
m* 4
Left hand.
3 2
+Z3£
tlt
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3 2
3
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Ex. 4.
Right hand.
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2 3 ~ 2
Left hand.
m
Ex. 5.
Right hand. o 4 *
3— 4-=d*n-—
s-4 I
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3 2 3
2 3 * S
2 3
Left hand.
Ex. 6.
Right hand.
i 43 3 2
Left hand.
4 3
-3—2 — 3
^
4 3
4—2-3
^5
-*-* •*-^2-3-
2 3
2343 243
POSITION AND FINGERING 379
Ex. 7.
Right hand. 4 3 *J^
z&c.r
SSEffi 2 3
4 3 2 4 3 Ta 2
Left hand.
Right hand.
4 3 2 4
-J- 1 9
3 2 ,JL 2 1 4
„ ,.
Left hand.
, , 345
Ex. 8.
Right hand. 4 341 4 3 4 1
tT -J-W *
i 3 2
3 2
3 2
V5*3
W • 2 3 2 3 * -•
54 3 2
3
Left hand.
Right hand.
4-jo ° 4 'A
-?l.£4-3_i-3-2^4
2 3 4 1
2 3^-3
Left hand.
Ex. 9.
Right hand. 2_3_2_3
2^1 _ 4 — 3. 2 3 4 3
Ex. 10.
Right hand. 4 3
Ex. 11. *
4 2 12 1
£ _L-i-A 2 '. 2
(
3
Left hand.
P—
W
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w =FF=fe
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:
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Original.
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Explanation. 3
3 2345432323232 1345 3^—
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4 4 5
.
Original. 6 2 5 2 3 3 2
: 3
^F^SEl* ^-Ji-A-
W
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— —
Ex. 1.
m Original, bar 3.
i
^=^
i—^E-r
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Explanation.
1 2
3k m f=F
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&c.
S=EE
5 4 5
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5£*3£3Si£ln !
r^
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Explanation.
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rr^ 2
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l=en 5=
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He £ =^—
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a
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£S» 3t3t
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mM mi
POSITION AND FINGERING 387
Ex. 5, below,
is sufficiently elucidated by the
which have been added to it in brackets.
fingerings
The phrasing is suggested by the fingering :
Edw. Be.
4L 3feS
~F
Graces
1
in play.
W 1 rJ
P=
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I-
*
388 17TH AND i8th CENTURY MUSIC
Edward Bevin.
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The graces, before,
1
is
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The arrangement of the bars in the explanation
conforms to the original, and the queer English of
the phrase is quoted verbatim.
It should be noted that only the first of these
" Graces in play," the slide, occurs in the pieces
of that collection but the " dotted slides " are
;
—\
A
/•
I
~7j- u
—
3 go 17th AND i8th CENTURY MUSIC
&
m
-ft—m-
=P=t
i=t P=^=g
m=J=
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iEt
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^•-t
=t=t ^Z3t
i ^ ^*-
I i
l i
ss ss
w
The #s indicates short shakes everywhere
sign
in the right-hand part the same in the left hand,
;
mordents.
The fingering in bar 3, right hand, may be
explained thus :
fpf * =p=t
£=EES 1
" A Prelude."
Ex. 1.
•- "5#
m ,
ga yjifig pfifcE
—* 1
3(2 3)
Ssf B
3=
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(2)!
I
I
1§E m ssgffi
(2)2
^ 3 (3)
ret
5 _1 __
&c.
igg^5£^s^
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(3 2 1 2 1 2)
Ex. 3,
&c.
4)
Ex.4. 4 3 1 4
Ex.5
5
I
2
1
X
1
—2 —
^ ,
a 11
l! X
l
2 3 ,.
3
',^4
»^__33 4 3 4
2
I
3
I
4
I
1
I 2 3
1 c
—
Notes Ascending. 3
3 4 3 4. 3 4 *-m-
'
Right hand the Fingers
'
a=t
to ascend are the 3d and
4th, to descend y e 3d and
2d.
i*Pfgl
Notes Ascending. , 4
' hand the Fingers
Left 123434 34 3434
to ascend are the 3d and
4th, to descend y e 3d and
2d.
y»=j^ggjg£
5 Notes Descending.
4 3
-*+*±=%
5
4 3
^
23S5
Notes Descending.
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of
Observe in ye fingering
• •
•J >i Arpeggio:—
r
1 «r
Prelude, Suite I.
f —— — r
\mr 0^5
&c,
3&k zea:
-!©-
zq: -2(9-
-49- 321
Sarabande, Id.
/*|V -^ /*V L*%v
HP H»3i
i^±=*=^=
&c.
-
: 4^-3
3B^!Ea
rt , > I 1 CT 1
r
1 1
la-Mi
Rondeau, Suite IV.
i
Is
» J=j r-M—
3* J. * ^-«-
» 2
qz=3=trt=it
-*-2J-^
-*-2 *-*-
i* 3
r
^fi?=i=
IS.
d •
sF" 1
Uv
fltsp:
MM L
POSITION AND FINGERING 395
Allemande, Suite III.
l**v Imv
2
5jE=jc:
p <FSF>p=r
£E* Iee
Kg IE
S ^c
^ BE^E ^
gfeJEEE^Eggg
Page 3 "To
: be seated at the proper height,
the underneath part of the elbow, wrist, and
fingers should be level a ;chair should be selected
in accordance with this rule. Something more
or less high should be placed under the feet
of children, so that their feet, not being in the air,
i X i Z3=ir =t=
nn 32
2d progress ascending.
32 :t 4 3 4 3 4
3 4
2d progress descending.
3
A/pf
4 3
Afir
^m
4 3
y^f%
4 3
Af*
4 3
/%r»
-e>-
m 4 5
^*
zz±z
4 5 4 5
-&-
4
w&S TT
(•IV
2~T
^Iv
2~T
^2=
TT 2
23Z =P=
T~2 T~2
w
1~2~
-far
T~2 1~2
POSITION AND FINGERING 397
2d progress descending. 2d progress ascending.
3~2 3~~2 3~2 3~2 3 2~~3 2~3 2~3 2*~3 2
3= ?2= ^E *==^= zz:
=t±= ^ ;£§=
t-
the other :
i=3=E£
12 3
First progress.
2 3 i 12 3
Third progress.
3 4
2 3 4 3 4 2 3 4 4 5
Second progress. Fourth progress.
of the 3rd with the 2nd finger and of the 4th with
the 3rd, in the right hand in the left, those of the
;
Ex. 1.
MSthode, p. 29. Fr. Couperin.
12 3
POSITION AND FINGERING 399
4 4 4 4 4 4 4 4 4 4 4 4 3
fe=^==ff
Page 40 " Passages from my
: First Book
of Harpsichord Pieces, difficult to finger."
(Exx. 7 to 17.)
Exx. 7 and 8. Note how the phrasing, indicated
by the fingering, is based upon the harmony.
More will be said on this point, especially in
connection with J. S. Bach's fingering. Here is
the harmony of Ex. 7 Ex. 8 can be analysed ;
— 4#-5»-
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5=1
P* l»-v— 2
&c.
w£ -1—
Ex . 7 .
" La Milordine .
'
5 4 5
-»-
=»* -?—m-
£^#! iES:
$ ifc
WE&z ±=t -e=3-
&c.
^m ms
POSITION AND FINGERING 401
Ex. 8.
Same Piece.
y^a«d^
1 V?
-W^
'
m &c.
Mr=t =1=
— *
Same Piece
Ex. 11. 3
-3- 3 1 i ..2
2-
SEE£^*EE£=£=£=jE£=£
1 1 1
sai
^ t
-4=5-
K.
Jt
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1 i 1 r
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&c.
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-4=5-
r -cr
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T
V
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"*—
I
i-
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d
.
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f^-
M *-
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POSITION AND FINGERING 403
Same Piece.
Ex. 13. |
feSfe
S^r-'^
2-5
^
__
i^Hrff
§PfF :
a-H-Fr-* =r1-
^g pJz
r
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T^ "T r
5 4-5
ifeS^
I f^^ER ££ &c
-f— h 1 I
==
FI:
— —
Right hand.
3 5 4 3 2 3 4 -*v 2 3 4 5
1 a* m .
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&c.
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£
I 2
jgiffe £ &c.
3 2 3-4
Ex. 17.
f^
Same
'
2 3
Piece.
3 4 3 2
3
r 3
4?4432
t 3 432432
B Ni=5 35
3-:
5 -ft-
&c.
Ex, &c.
i.x. 20.
'
' Le Moucheron,
5 5
mm^mmm
Ex. 21. Passacaille.
5 4
4. . 3.
J I
212, 2
^N^
2
&c.
POSITION AND FINGERING 407
Ex. 22. Same Piece.
4 5 4 5 4
5 4
m^m^ms^mmk
4 5 4
'
I
! I
«±
2 3 2 3 2
2 3 2
5 4 V"8 5 3
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3 4 4
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t=t
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i fe
212
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w*
I
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2 3 &c.
2
3 4 .
f— *! * 5
1^2
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3 3 4 3 4 1
Ex. 25
'
L'Amaz6ne
^^^^^^^Pffi^i
& 1 1
'
1—fa
-i.
i
1 1 i t u
4 3 2 4
n=^
3*3
! I
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Ex.
Ex. 27
28.
.||
Same
Same piece.
5
s
t#- i 2 3
&c.
3 2
,3. 2
itak ff Ff : jl~ ; f*f ,
^i±jjs
,3.2
12.3213
vt ;?r i »*r-F ,. ^-s-.^-^- .
2 2 .
Ex ,.W * :p
3:
—^ m—»
5
-1 F *—
Left hand
(sic)
Ex. 3.
'
' This must be repeated often without
stopping, and with equality of
movement."
Ex. 4.
Menuet en Rondeau
^
5 4
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s^Tf^ffffa ?ar
Fin.
1
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4 io 17th AND i8th CENTURY MUSIC
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3 4 5 3 2 12
3 5
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r r
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POSITION AND FINGERING 415
4
- 1-1-2„V»- i I
rt -m-
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XX 4=t
m^-*
P^i nil
m& H* c5
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it
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5
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2 4 2 15 1
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POSITION AND FINGERING 417
Ex.3.
" Praambulum " (Analysed.) J. S. Bach.
51,—v 4
1UU=*L
I
pi 'PSF pEpEEtefi^
:sd-
-£2--
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EC
OE Si
dj=^i=
3
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f^r i^^^T^^p 4
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2
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2
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j. 2
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f»fe? W=fr H| 5g -W-
11 TV
&c.
3 1
:i3t
m^Egfr
^%=^ m :ic:
vt
418 17TH AND i8th CENTURY MUSIC
Ex. 3 shows a reduction of this Prseambulum
into plain chords, to which the original fingering
has been transferred, and which will demonstrate
this important principle at a glance. It has
already been alluded to in connection with
Couperin (page 400).
The melodic phrases in the music of that period
being almost entirely evolved from the harmony
(the reverse is quite exceptional), it happens
frequently that the same fingering is suggested
both by the harmony and the phrase nevertheless,
;
CHAPTER VII.
SECTION I.
The Virginals.
Page 235 :
" But when we would be most Ayrey,
Jocond, Lively, and Spruce; Then we had Choice
and Singular Consorts, either for 2, 3, or 4 parts,
but not to the Organ, as many now a days
Improperly and Unadvisedly perform such
Consorts with, but to the Harpsicon ; yet, more
properly and much better to the Pedal, an
INSTRUMENTS OF THE PERIOD 425
Instrument of a late invention, contriv'd as I have
been inform'd by one Mr. John Hayward of
London, a most Excellent kind of Instrument for
a Consort, and far beyond all Harpsicons or
Organs that I have yet heard of, (I mean for
Consort, or single Use;) but the organ far beyond
it, for Those other Performances before mentioned.
" Concerning This Instrument, (call'd the Pedal
because it is contriv'd to give Varieties with the
Foot) I bestow a few lines in making mention
shall
of, in regard it is not very commonly used, or
known because few make of them well, and fewer
;
SECTION II.
The Clavichord.
SECTION III.
The Organ.
The organ remained faithful to the old ideals
longer than other instruments. The makers of
18 1 5 worked much on the same principles as those
of 1615. In most houses there was a little organ,
soft and sweet, easy to play, ready to warble like a
bird, or with two stops to make you feel the
ecstasies of God's worship. The church organs in
addition had that power based on sweetness which
constitutes majesty. The change came on, and
for the sake of louder tone, pressure of wind was
doubled and trebled. The same pressure acting
on the valves which let the wind into the pipes
made them too heavy for the fingers to move
through the keys. A machine was then invented
which did the work at second hand. Instead of
shutting your own door, if you call a servant to do
so, the door may get shut, but not so quickly. So
the music of the organ dragged on after the
player's fingers as best it could. Personal touch,
INSTRUMENTS OF THE PERIOD 437
which did so much for phrasing and expression,
was destroyed.
Then fashion decreed that the organ should be
an imitation of the orchestra, and it got stops
which sound like horns, flutes, and violins; but
without the life that players instil into their
instruments. The organist,
he is clever, can give a
if
SECTION IV.
The Lute.
The lute is known to everybody by name ; not,
perhaps, because it was popular once upon a time
as the best of instruments, for that was four hundred
years ago, but because its sweet-sounding name has
been persistently used in romance and in poetry,
even to this day, to evoke vaguely the pleasant
image of some fascinating instrument.
The fact is that the lute has become one of the
rarest and most precious amongst old instruments.
This book has already given a good deal of
information about it, incidentally with other
matters. We shall not repeat it. Our endeavour
will be to complete and co-ordinate the whole as
far as possible within the limits of this study.
The lute in use towards the beginning of the
1 6th century had five sets of double strings (two
unisons for each note), and one single string, which
is the highest.
—
438 17TH AND i8th CENTURY MUSIC
The tuning was as follows :
INSTRUMENTS OF THE PERIOD 439
It brings hopeless confusion in the movements of
inner parts the instrument is thus reduced to a
;
* In these explanations the two strings tuned in unison, and which are
always played together, are counted as one.
1 F
— —
440 17th AND i8th CENTURY MUSIC
The time-values of the notes are indicated by
signs analogous to those in the ordinary notation :
r r f f
i
SECTION V.
The Viols.
m==^=^. I
being the same intervals as in the old lute. The
lowest string is tuned down to C whenever the key
of the composition requires it.
The tenor viol is tuned a fourth higher, from
G to G, its size being proportionate, and its length
of strings, therefore, about 22J inches.
The treble viol is tuned an octave above the
bass, and is in consequence half its size.
All these viols were played alike, for position as
well as bowing; they were held downwards, and
never over arm, in the violin way, however small
they might be. Their tone is well balanced they
;
SECTION VI.
SECTION VII.
The Violins.
1 G
456 17TH AND i8th CENTURY MUSIC
have to play it upon itshighest string, which is
too strident. Moreover, in the first case, whilst
the viola plays the tenor part, the alto part falls to
the second violin, which has not the right timbre
for it, and might be better occupied in playing a
second treble part. In the second case, whilst the
violoncello plays the tenor part, the real, true
string-bass is unavailable. It has to be given
to the bassoon or some other wind instrument,
for the double-bass alone is no good for it ; or,
SECTION VIII.
SECTION IX.
SECTION X.
Combinations of Instruments.
of instruments
the which took part in a
Maske arranged by Cesare Negri, at Milan,
on June 26th, 1574, in honour of Don
Giovanni of Austria Cornetto, trombone,
:
3. Six viols.
4. Six viols, five trombones, one cornet, one
regal.
5. Six large viols, six flutes, six voices, and one
harpsichord.
6. One harpsichord, one trombone, one flute.
7. One lute, one bagpipe, one cornet, one
viola da gamba, one oboe.
INSTRUMENTS OF THE PERIOD 465
8. Three choirs of instruments which were heard
separately and together
a. Four viols b. Four
; recorders
c. One dolcain, one bagpipe,
one fife, and one cornet.
g. A
piece for six recorders and six voices.
Andre Maugars, the French musician who came
to England to study the viol, as we have seen at
page 450, went to Rome in 1639. His skill on
the gamba excited great admiration there. He
states that there were no Italian players of any
importance on that instrument at the time but ;
1 H
INDEX I.
NAMES.
PAGE PAGE
Adam, Adolphe. Rhythm 70 Bach (C. Ph. E.) (cont.).
Adlung on the Clavichord 435 Arpeggio ... ... 271
Affilard, (1'). Vibrato ... 205 Tempo rubato ... 287
Agricola. Rhythm ... 62 Accent u. trillo ... 303
Appoggiature ... 118 Shake and turn ... 310
Ammerbach. Mordents 210 Prallender doppel-
Fingering 364 schlag ... ... 310
Ariosti (Attilio) ... 453 Sonata in F minor,
Appendix ... 18
Bach (C. Ph. E.). Rhythm 7059, Bach (J. S.).
•
Tempo of
Ornamentation ... 89 Sarabandes ...40, 52
Appoggiature 130. 132 Rhythm 62, 64, 69, 84
Bad example 146 Sarabande for the
He takes liberties, Violoncello ... 84
protest 149 Id. for the Clavier 86
Shakes 183 Appoggiature 102, 124
Learning the Shake Passing appoggi-
Sustaining tone on ature ... ... 152
Harpsichord and Doppeltcadenz ... 156
Clavichord 189 Shakes ... ... 167
Imagination to help Remarks on orna-
audition ... ... 190 mentation ...168
Abuse of Shakes ... 190 Bebung ... ...207
Bebung ... ... 207 Slide 246
Tragen der Tone . . . 207 Nachschlag ... 254
Mordent 220 Anschlag 258
Acciaccatura 220, 301 Arpeggio ... 270,273
Turn ... ... 233 Acciaccatura ... 300
Slide 248 Appoggiatura and
Naschlag ... ... 255 mordent ... ... 304
Anschlag ... ... 259 Trillo and mordent 309
.
•
Pedal, description 424 Shakes 195
Consorts of Viols... 444 Muff at (George). Turn... 228
Marais, Marin. Rhythm 75 Slide 242
Ornaments 9i Accent 254
Appoggiature 99 Muffat (Theophilo). His
Vibrato 204 Ornaments 120
Mordent 213 Appoggiature 121
Slide 243 Snakes 173
Arpeggio 268 Mordent 218
A disciple of Ste. Turn 231
Colombes 45' Arpeggio ... 270
Marpurg. Appoggiatura 130 Suspension 279
Passing appoggiatura '5' Tremblement
Shakes 182 appuye ... 303
Bebung 207 Appoggiatura and
Mordent 218 Mordent ...' 3°4
Turn 232 Slideand Shake ... 316
Groppo 2 t2 Munday (Jhon). Fingering 381
Slides 245 Murschhauser, Slide 244
Accent 255
Anschlag 258 Ortiz'(Diego). Shake 155
Pinc6 etouffe, acciac- Turn 22 c
catura 302
Tremblement appuye 3°3 Paderewski. His dislike
Tremblement could 317 for soft hammers 430
.. . 5
MATTER.
PAGE PAGE
Accent (see Appoggiatura) Appoggiatura and mor-
167, 251 dent ... ... 304
Acciaccatura ... 209, 220, Appoggiatura and shake 302
288, 322 Archiviole da Lyra ... 467
Acciachatura (see Acciaccatura). Archlute ... ... ... 439
Accidentals in Divisions 337 in Church... ... 466
Accompaniments upon the Arcileuto (see Archlute).
Viol 15 Arioso, Tempo ... ... 41
Accords de Tierces coulees 321 Arpeg6 (see Arpeggio).
Adagio Assai, Tempo 39, 41 Arpeggio... ... ... 260
Adagio Cantabile, Tempo Arpicordo ... ... 422
39, 4o, 42 Articulation ... ... 283
Airs in Italian style, Tempo 42 Aspiration 204, 251, 256,
Airy Musicks 4 275, 278
Alia Breve, Tempo 39 Aspired shake ... ... 166
Rhythm ... 58 Ayre, Tempo ... ... 48
Allegretto, Tempo •39 42
Allegro Assai,Tempo 39 42 Bagpipes do not articulate 282
Allegro, Tempo ... 39 Bagpipe style of Bach
Rhythm ... 57, 58, 80 playing ... ... 284
Itsspeed not to be Bagpipes in Consort ... 464
exaggerated ... 41 Balancement 196, 205, 207
Allemande, Tempo 47, 48, 52 (see Vibrato).
Rhythm 76 Bandora ... ... ... 443
Allmaine (see Allemande). Bass Viol 449
Alman (see Allemande). as a solo instrument 450
Alto- Viol 45' in consort... ... 463
Alto- Violin 455 Basse Chiffree (see Figured
Anschlag... 256 Bass).
Appoggiatura 93 Basso Continuo (see
Fingering 397 Figured Bass).
INDEX II.— MATTER 481
PAGE PAGE
Batement, vibrato 205 Chromatic Mode on the
Mordent ... 209 Violin in 1639 ... 467
Battery, Arpeggio 260 Church Music in Rome
Bearing ... 238 in 1639 465
Beat (see Appoggiatura on Church Music, Tempo ... 43
the flute). 215 Chute (see Appoggiatura).
Bebung ... 196 Chutes de Pinc6s ... 320
Bourr6e, Tempo... 5° Citharen (see Cithren).
Bows, old and modern Cithren ... ... ... 443
compared 454 in Consorts ... 463
Bransle, Tempo ... 47 Cittern (see Cithren).
Brass Instruments (obso Circolo-mezzo ... ... 224
lete) 460 Clavecin ... ... ... 423
Breaking a note... 324 Clavessin ... ... 423
Breaking the ground 328 Clavicembalo ... ... 423
Broken chords ... 260 Clavichord ... ... 433
Broken consorts... 462 Gebunden and
Broken music 462 bundfrei ... ... 434
Buff Plectra on Virginals 420 Itsuse by J. S. Bach 435
Clavicymbel ... ... 423
Cadence ... 154, 224, 230 Clavicytherium ... ... 422
de nceuds et trem- Close-shake 196, 202, 204, 214
blements... ... 307 Consorts, whole and broken 462
distinguished from Coranto (see Courante).
measure, Couperin 20 Cornets 459, 464
In Dom Bedos : in Bach's works ... 460
Cadence d£tach6e in Consorts ... 464
simple, d6tach6e Lecture on Cornets 460
double, Hie simple, Cornetto 459
liee double, ap- Coule" 238
puy6e et ditachie, Coups sees ... ... 321
appuy^e et hie, Courante, Tempo 45, 48, 50, 52
ouverteetd6tach6e, Rhythm 56
ouverte et \iie ... 319 Cracked Chords... ... 275
in Frescobaldi ... 5 Crispata Cadentia . .
307
sans tremblements 224 Cromornes ... ... 457
Cadence jett^e, finale ... 320 Cuts in long pieces ... 7
CadenzediGroppoeTrillo 307
Canarie, Tempo... ... 50 Dampers in pianos ... 431
Cembalo... ... ... 423 Dances, Tempo... ... 44
Chacone, Tempo ... 50 alterations of speed
Rhythm 56 and character ... 45
Cheute (see Appoggiatura). Dance- Tunes versus serious
Chest Voice in runs, Tempo 42 music ... ... 369
Children, Teaching of ... 19 in church ... ... 466
First Lessons ... 18 Demi-Tremblement ... 181
Chittarone ... ... 443 Descending shake ... 170
. .
1 1
.
INDEX III.
SIGNS.
PAGE
Tonotechnie 3i8
J Arpeggio,
upwards, Dieupart ... 269
'
Rameau 270
~~~
Slide, G. Muffat ... 242
+
Port de Voix, Chambonnieres ... 97
I
Slide 243
All kinds of Ornaments 91, 243, 253
•
Trillo, Bach
Shake, Marpurg
-»»v Tremblement, Chambonnieres ...
Couperin ...
Shake, Bach
Marpurg
C. Ph. E. Bach
Beat, Purcell
Long shake
/** Th. Muffat
/> Th. Muffat
-*0 Cadence ferm^e, Dandrieu
Kuhnau
J. S. Bach
*V, Slide, Walther
Ow Cadence, D'Anglebert ...
J. S. Bach
Th. Muffat
CO Couperin ...
Bach
Marpurg ...